This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1962.

The Expo Book: A Guide to the Planning, Organization, Design & Operation of World Expositions

The evolution of city planning theory and practice in the first half of the twentieth century was captured and driven by a range of exhibitionary practices in a variety of settings globally, from international expos to local public halls. The agendas of the promoters varied, but exhibitions generally drew their social legitimacy from their status as ’appropriate educative agencies of citizenship’. Bringing together a range of international case studies, this volume explores the highly visual genre of public planning exhibitions worldwide. In doing so, it provides a unique lens on the development of modern urban planning and design from the late 19th century to the present day. Focussing mainly on the first half of the 20th century, it looks in particular at historic exhibitions which sought to transform urban society’s understanding of the possibilities of planning as a force for social betterment. The visuality of presentation, contemporary reactions, and outcomes for the planning profession and the community are explored to make for a unique, innovative and attractive approach to the history of planning ideas. The five major themes are the visual representation of ideas and ideologies; institutions and individuals involved; the broader context of display; and the impacts and implications for the development planning culture. With contributors including Karl Fischer, John Gold, Carola Hein, Peter Larkham, Javier Monclus, and Mark Tewdwr-Jones, the dominant intellectual paradigm further unifying the collection is planning history.

If in earlier eras music may have seemed slow to respond to advances in other artistic media, during the modernist age it asserted itself in the vanguard. Modernism and Music provides a rich selection of texts on this moment, some translated into English for the first time. It offers not only important statements by composers and critics, but also musical speculations by poets, novelists, philosophers, and others-all of which combine with Daniel Albright's extensive, interlinked commentary to place modernist music in the full context of intellectual and cultural history.

Since the first world's fair in London in 1851, at the dawn of the era of industrialization, international expositions served as ideal platforms for rival nations to showcase their advancements in design, architecture, science and technology, industry, and politics. Before the outbreak of World War II, countries competing for leadership on the world stage waged a different kind of war—with cultural achievements and propaganda—appealing to their own national strengths and versions of modernity in the struggle for power. World's Fairs on the Eve of War examines five fairs and expositions from across the globe—including three that were staged (Paris, 1937; Dusseldorf, 1937; and New York, 1939-40), and two that were in development before the war began but never executed (Tokyo, 1940; and Rome, 1942). This coauthored work considers representations of science and technology at world's fairs as influential cultural forces and at a critical moment in history, when tensions and ideological divisions between political regimes would soon lead to war.

Robert W. Rydell contends that America's early world's fairs actually served to legitimate racial exploitation at home and the creation of an empire abroad. He looks in particular to the "ethnological" displays of nonwhites—set up by showmen but endorsed by prominent anthropologists—which lent scientific credibility to popular racial attitudes and helped build public support for domestic and foreign policies. Rydell's lively and thought-provoking study draws on archival records, newspaper and magazine articles, guidebooks, popular novels, and oral histories.

This book is the first to take an in-depth examination of the breadth and scope of exhibitions, trade fairs and other industrial events as a marketing tool or channel. Industrial Events are planned events that are staged with the primary aim of marketing businesses, industries and products. This may lead to direct sales through these events, as well as the development of brand image or building brand awareness; penetration of new markets; trials of new products and knowledge diffusion. These business goals might be future-focused, with meetings of strategic players from across an industry or sector contributing to the shaping of future innovations and development. Industrial events act as a marketplace, but rather than seeing them as temporary or isolated activities, they can be understood as cyclical clusters. This is a multidisciplinary book written by an international group of leading academics, offering a wide range of case studies that feature countries such as the United Kingdom, United States of America, Japan, South Korea, Saudi Arabia, Australia and New Zealand. It will appeal to students and researchers in the fields of cultural studies, history, tourism, sociology, economics and management

The first major history of the glamorous art biennial. Biennials have proliferated across the globe since the end of the Cold War and have now stabilized at about 200 a year. While this quintessentially contemporary form has significant roots in the world expositions of the 19th century, Jones argues that the biennial is also the platform for an important new aesthetic shift. Moving away from a focus on visual looking in the mid 20th century, the art world today embraces experience: art fairs give the feel of closeness and spaciousness, crowds, and they engage all our senses, even taste. Jones argues that the dominance of installation art and the simultaneous rise of biennialsor recurring art fairsneed to be examined as joint phenomenamutually reinforcing and linked to specific geo-political and aesthetic conditions. From the rise of tourism to the flows of art commerce, Jones hatches a new way to track the development of international art fairs in nearly every corner of the globe: from the early world fairs of London, Paris, Chicago, and New York to art fairs proper in Venice, Sao Paulo, Havana, Berlin, Lyon, and Beijing, as well as Kassel s Documenta, Whitney Biennial, and moreall explained through a rapidly evolving aesthetics of experience that has never, until now, been addressed in such a substantial way."