Cooks and Waiters on the Move: the World and International Exhibition in Ghent, 1913, as a Destination for Hospitality Workers

2013 ◽  
Vol 11 (2) ◽  
pp. 287-316 ◽  
Author(s):  
Patricia Van den Eeckhout
Keyword(s):  
International Exhibition ◽  
Hospitality Workers ◽  
The World

Model Innovation of Exhibition Logistic Supply Chain

2013 ◽  
Vol 397-400 ◽  
pp. 2672-2676
Author(s):  
Xiao Ming Wang
Keyword(s):  
Supply Chain ◽  
Market Economy ◽  
Chain Structure ◽  
International Exhibition ◽  
Structure Model ◽  
Characteristic Analysis ◽  
The World ◽  
Supply Chain Structure ◽  
Exhibition Industry ◽  
World Exhibition

Exhibition has been widely recognized as a strong booster of market economy in the world. Exhibition logistics is the basic guarantee for the development of exhibition industry. In this study, some improvement and innovation ideas of Chinese traditional exhibition logistics were proposed through the characteristic analysis of international exhibition logistics. A new supply chain structure model of international exhibition logistics is needed to accelerate the specialization, speed, standardization and informatization of exhibition logistics.

scholarly journals Meeting Southeast Asia and South Pacific Region in the Museum of the World Ocean in Svetlogorsk

2020 ◽  
pp. 256-270
Author(s):  
Daria S. Panarina ◽  
Keyword(s):  
Southeast Asia ◽  
World Ocean ◽  
South Pacific ◽  
New Guinea ◽  
International Exhibition ◽  
Pacific Region ◽  
The World ◽  
History Of

The article is a brief overview of the exhibition "People of the Sea" in the Museum of the World Ocean, presented at the International Exhibition Center in Svetlogorsk. The article is based on travel notes and impressions of the author after visiting this exhibition. It explains the history of its appearance, touches upon the person who started and arranged the basis of the collection, provides some information on the culture of the Southeast Asia countries mentioned in the exhibition, such as, for example, New Guinea or Indonesia. The article is illustrated with photographs of the exhibits from the museum website and from the author's personal archive.

scholarly journals IVAN PULUJ AND THE DISCOVERY OF X-RAYS

2021 ◽  
Vol 64 (1) ◽  
Author(s):  
Ulyana Pidvalna ◽  
◽  
Roman Plyatsko ◽  
Vassyl Lonchyna ◽  
◽  
...  
Keyword(s):  
International Exhibition ◽  
Bone Lesions ◽  
X Rays ◽  
High Quality ◽  
X Ray ◽  
Exact Date ◽  
Starting Point ◽  
The World ◽  
New Type ◽  
The Given

On January 5, 1896, the Austrian newspaper Die Presse published an article entitled “A Sensational Discovery”. It was dedicated to the discovery of X-rays made on November 8, 1895 by the German physicist Wilhelm Conrad Röntgen. Having taken into account the contribution of other scientists, the precondition of the given epochal, yet unexpected, discovery was, first and foremost, the work of the Ukrainian scientist Ivan Puluj. It was Puluj who laid the foundation for X-ray science. He explained the nature of X-rays, discovered that they can ionize atoms and molecules, and defined the place of X-ray emergence and their distribution in space. In 1881, Puluj constructed a cathode lamp (“Puluj’s tube”) which was fundamentally a new type of light source. In the same year, in recognition of this discovery, Puluj received an award at the International Exhibition in Paris. Investigating the processes in cathode-ray tubes, Ivan Puluj set the stage for two ground-breaking discoveries in physics, namely X-rays and electrons. Puluj used his cathode lamp in medicine as a source of intense X-rays which proved to be highly efficient. The exact date of the first X-ray images received by Puluj remains unknown. High-quality photographs of the hand of an eleven-year-old girl, taken on January 18, 1896, are preserved. Multiple X-ray images clearly visualized pathological changes in the examined structures (fractures, calluses, tuberculous bone lesions). High-quality images were obtained by means of the anticathode in the design of Puluj’s lamp, which was the first in the world. The image of the whole skeleton of a stillborn child (published on April 3, 1896 in The Photogram) is considered to be the starting point of using X-rays in anatomy.

NOTES

1888 ◽  
Vol 20 (2) ◽  
pp. 40-40 ◽  
Keyword(s):  
International Exhibition ◽  
Food Plants ◽  
The World

Mr. Alfred Wailly, Tudor Villa, Norbiton, Surrey, England, is anxious to obtain speciments of the wild Silk-worms of all parts of the world for exhibition in the Department of Sericulture at the Paris International Exhibition of 1889. In order to make the exhibition as complete as possible, he wishes to obtain specimens of live cocoons, in large quantities or small, with names of food-plants for each species, whenever possible, and also specimens of the moths; any specimens went will be purchased or exchanged, as desired.

The Queensland International Exhibition of 1897: ‘Dazzling display’ or ‘a frost’?

1998 ◽  
Vol 5 (1) ◽  
pp. 78-85 ◽  
Author(s):  
Judith McKay
Keyword(s):  
Nineteenth Century ◽  
International Exhibition ◽  
Crystal Palace ◽  
The World ◽  
Mixed Feelings ◽  
World Expo

On 5 May 1897, just over a century ago, the Queensland International Exhibition opened in Brisbane. This, the seventh international exhibition to be held in Australia, was Queensland's contribution to the great series of world expos that followed London's famous Crystal Palace Exhibition of 1851. The exhibition also marked Queensland's recovery from a disastrous depression of the early 1890s, proclaiming to the world that Queensland was now on a steady path of progress. Contemporaries viewed the exhibition with mixed feelings: to some it was a ‘dazzling display’; to others ‘a frost’ (a nineteenth-century term for ‘a fizzer’). ‘Frost’ or not, the event was soon forgotten after it closed three months later, and hardly rated a mention at the time of its recent successor, World Expo '88.

scholarly journals The Jewish farmer, the village and the world fair: politics, propaganda, and the “Israel in Palestine” pavilion at the Paris International Exhibition of 1937

2019 ◽  
Vol 63 ◽  
pp. 10004
Author(s):  
Tzafrir Fainholtz
Keyword(s):  
Vernacular Architecture ◽  
International Exhibition ◽  
Nazi Germany ◽  
Jewish Question ◽  
Traditional Architecture ◽  
The World ◽  
Zionist Movement ◽  
Hybrid Construct ◽  
Settler Society ◽  
The Village

At the Paris International Exhibition of 1937, a few steps from the Nazi Germany and USSR pavilions theYishuv(Palestine's Jewish Zionist community) had its own presence, the “Israel in Palestine” pavilion. Initiated by the Zionist leadership, the pavilion was a hybrid construct of modernist and traditional architecture; its front was made from concrete and glass, its rear modelled on Palestine's rural vernacular architecture, with arches and terraces. Inside the pavilion, the exhibition depicted the achievements of the Zionist Jewish resettlement project, presenting it as a solution for the so-called “Jewish question”. Conceived as part of an orchestrated effort by the Zionist movement to use the World Fair, the professional architectural media, writers, and architects to gain support for the movement's activities, the pavilion sought to present Palestine's settler society as both modern and well rooted, and to display the renaissance of nationhood through the representation of the Jewish farmer on the international stage.

The ‘Tree of Life’ or Pohon-Budi: An International Exhibition Celebrates a Global Heritage

2021 ◽  
pp. 245592962110509
Author(s):  
Jasleen Dhamija ◽  
Manjari Nirula ◽  
Edric Ong
Keyword(s):  
International Exhibition ◽  
Tree Of Life ◽  
Kuala Lumpur ◽  
The Earth ◽  
The World ◽  
The Usa ◽  
Political Borders ◽  
The Uk ◽  
Creativity And Innovation

This article by a team of scholars, activists and a designer describes an effort to understand a heritage shared across many cultures—the Tree of Life is a symbol that appears in the myths, crafts and arts of civilizations on every continent—and to bring that heritage alive through exhibits featuring present-day artisans and artists. After overcoming major administrative barriers, an exhibition on this sacred theme premiered in Kuala Lumpur in 2015, curated by a Malaysian–Indian team. Expressions brought together from 35 countries blended natural and cultural ecologies with the sensitivity of each creator, working with a range of materials. After Malaysia, the exhibition travelled to India, the USA, Canada, Taiwan and Thailand. It is expected to move to Bhutan, China, the UK and elsewhere once the pandemic condition allows. Meanwhile, documentation and publication have helped share a breathtaking resource of knowledge and design. Described as ‘a thread that links the world’, this Tree of Life celebration demonstrates the importance of investing in research to build a foundation of scholarship upon which heritage can be brought to life for new generations. Here, the creativity and innovation of those who are repositories of ancient wisdom make tradition relevant to new times, revealing heritage as a timeless process that can be managed and shared by bringing old and contemporary disciplines together in new and uniting partnerships that extend far beyond political borders. New opportunities have opened for participants, inspiring other efforts. Here, heritage not only identifies the identity of each participating culture. These identities also combine as a shared heritage of all humankind, with the Tree of Life as a symbol of caring for the earth and for each other.

scholarly journals 'Music in Christchurch during the 1882 Exhibition'

2014 ◽  
Author(s):  
Philip Jane
Keyword(s):  
New Zealand ◽  
Industrial Development ◽  
Large Scale ◽  
International Exhibition ◽  
Narrative Study ◽  
Musical Activity ◽  
Wide Range ◽  
International Exhibitions ◽  
The World ◽  
Made In

Large-scale exhibitions in the nineteenth-century sprang from the Victorian desire to showcase industrial development, and most of them had an element of cultural display such as a concert series or music competitions.  An international exhibition was held in Christchurch, New Zealand, for fourteen weeks in 1882.  While not on the same scale as other international exhibitions throughout the world, this exhibition offers the opportunity to study what progress music had made in a recently colonized country.  This mainly narrative study reveals a wide range of musical activity, with opera, choral concerts, musical competitions, and performances by an internationally-renowned chamber group.

scholarly journals “ELECTRIC PROTO-PERFORMANCE”: ENIGMARELLE THE AUTOMATON AT THE 1938 EXPOSITION INTERNATIONALE DU SURRÉALISME

2021 ◽  
Vol 17 (2) ◽  
pp. 151-170
Author(s):  
DARIA O. MARTYNOVA ◽  
Keyword(s):  
Twentieth Century ◽  
Popular Culture ◽  
International Exhibition ◽  
Scientific Conference ◽  
Electric Pulses ◽  
The Public ◽  
Early Twentieth Century ◽  
The Arts ◽  
The World ◽  
Ideal Person

The following article is based on a report presented at the Arts and Machine Civilization International Scientific Conference. The author analyzes publications related to Enigmarelle and automata in periodicals of the early twentieth century in order to identify the significance of Enigmarelle’s phenomenon at the 1938 International Exhibition of Surrealism. In the course of the study, it was concluded that Enigmarelle became a centerpiece of the opening, a kind of a wobbler that was intended for attraction and intriguing the public. Enigmarelle is a documented curiosity of the early twentieth century, mystified in popular Parisian newspapers of the first half of the century. Initially, Enigmarelle was created only for the entertainment of the public, as the popularity of automaton resumed in connection with the dollomania in the second half of the 20th century. However, for the 1938 International Exhibition of Surrealism in Paris, the surrealists turned Enigmarelle the automaton into an exhibition object and shifted the emphasis of its function from entertaining to symbolic; as a result, the “mechanical human” became the image of an “ideal” person bringing danger and death. This change in the interpretation was facilitated by the hysteria, which is fundamentally significant for the surrealists’ work. Also, Enigmarelle’s paramount significance can be explained by a reference to its connection with Frankenstein. The automaton, a mechanism controlled by electricity, drew parallels with mesmeric practices, during which a body could be controlled by electric pulses. It can be concluded that surrealists turned the popular culture phenomenon, Enigmarelle the automaton, into an exhibit that correlated with the films of the 1920s and 1930s about the revivification and creation of an inanimate being (Frankenstein, 1931, Metropolis, 1927, The Golem: How He came into the World, 1920). Such a presentation was associated with mesmerism and hysteria, which was related to the ocularcentristic concept and surrealists’ pre-war mood. Based on the analysis of publications in periodicals, it can be assumed that Enigmarelle’s phenomenon anticipated viewers’ active involvedness. This, in turn, served as a kind of a binder, uniting the disparate elements of the exhibition.

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