In 1986 my mom, step-dad, and sister drove from the San Francisco Bay Area to Vancouver, British Columbia for the 1986 World’s Fair. We didn’t have much money, so we camped at a nearby site and went in every day for a week. I remember it like some retro-future dream of technology and innovation.
I vividly remember Highway 86:
And this water park:
And this big giant watch and the whole Switzerland pavilion:
The next World’s Fair is in Dubai in 2020, and after that it’s Buenos Aires in 2023.
For the grand entrance of the Exposition Universelle in Paris, Gustave Eiffel and his firm, Eiffel et Compagnie, designed a three-leveled, 1,063-foot wrought iron tower. Selected from over 1,000 entries, the Eiffel Tower was built in homage to the French Revolution.
In addition to the avant-garde edifice, the Exposition Universelle also featured a Galerie des machines (“machine hall”), Wild West shows, and architectural models of sites around the world. The event lasted from May 6 through October 31, 1889.
From February 20 through December 4, 1915, the Panama-Pacific International Exposition was held in San Francisco. Though officially intended to mark the completion of the Panama Canal, this fair also celebrated the city’s remarkable recovery following a devastating earthquake in 1906.
When they weren’t marveling at the first transcontinental telephone call or admiring the on-loan Liberty Bell, visitors spent their time “strolling down wide boulevards, attending scientific and educational presentations, ‘traveling’ to international pavilions and enjoying thrilling displays of sports, racing, music and art” (National Park Service).
In 1964, the World’s Fair was held in Flushing Meadows Park in Queens, New York. Thematically based on “Peace Through Understanding,” the spectacle showcased the achievements of 80 nations and 24 US states. It also featured pools, carnival rides, and fountains.
This edition of the world’s fair is where Walt Disney debuted his Audio-Animatronics. These technologically-advanced robots were featured in four shows: ‘Ford’s Magic Skyway,’ ‘Progressland,’ ‘Great Moments with Mr. Lincoln,’ and ‘It’s a Small World.’ Disney would eventually bring all of these attractions to Disneyland, with the particularly popular ‘Great Moments with Mr. Lincoln’ and ‘It’s a Small World’ remaining at the resort today.
By suspending pieces of tape from a straw, you can build an electroscope—a device that detects electrical charge. A commonly available brand of plastic tape can gain or lose negatively charged electrons when you stick it to a surface and then rip it off. A plastic comb will enable you to identify whether the pieces of tape are positively or negatively charged.
Each Tuesday is EducationTuesday here at Adafruit! Be sure to check out our posts about educators and all things STEM. Adafruit supports our educators and loves to spread the good word about educational STEM innovations!
By suspending pieces of tape from a straw, you can build an electroscope—a device that detects electrical charge. A commonly available brand of plastic tape can gain or lose negatively charged electrons when you stick it to a surface and then rip it off. A plastic comb will enable you to identify whether the pieces of tape are positively or negatively charged.
Each Tuesday is EducationTuesday here at Adafruit! Be sure to check out our posts about educators and all things STEM. Adafruit supports our educators and loves to spread the good word about educational STEM innovations!
In creating the project, the MCA took inspiration from university art libraries, which often generate tremendous demand. MIT’s Student Loan Art Collection has existed since 1969, and in a recent lending session, 975 people entered a lottery for 600 artworks. Demand also exceeded supply when the University of Chicago revived its lending library after a 30-year hiatus. By 8am on distribution day, around 100 students had lined up. Some had camped out overnight.
One challenge for art libraries is making sure that their collections are inclusive and diverse. The University of Chicago’s art lending library, Art to Live With, originated with a collection assembled by Joseph R. Shapiro, an alumnus and the founding president of MCA Chicago. A student-staffed Collections and Acquisition committee needed to be established to diversify the library, which included works by mostly male and European artists.
Measuring the impact of these initiatives is a challenge, too. This year, both MIT and the University of Chicago created surveys that aimed to determine whether students who borrowed art also became patrons of cultural events and spaces. (The results aren’t in yet.) Of the MCA in Denver, Lerner said that some borrowers may have a previous interest in particular artists, but he expects others to start “following” the artists whose work they borrow. At the MCA’s library launch event, 21 out of 28 borrowers told me that they didn’t know any of the participating artists. Several lottery entrants said they were participating because they wanted to hang original art in their home for free.
It’s difficult to say precisely what the internet is, or where it begins and ends, even though using it feels so familiar. The Institute of Contemporary Art’s massive, head-spinning survey Art in the Age of the Internet, 1989 to Today grapples with this paradox. It is organized into five thematic sections — Networks and Circulation, Hybrid Bodies, Virtual Worlds, States of Surveillance and Performing the Self. However, the 60 featured artists working in painting, performance, photography, sculpture, video, and web-based projects slip between these categories and reaffirm the internet’s impressive but daunting unwieldiness. Art in the Age of the Internet allows viewers to marvel at how far we’ve come technologically with the internet’s immediate conveniences, but then reveals our embedded, circular reliance on it to ask whether we should — or can — dial it back.
The exhibition is bookended by striking video installations, and Hito Steyerl’s “Liquidity, Inc.” (2014) near one end, is elucidating in its refusal of narrative or formal categorization. At parts, Steyerl’s video personifies water in the subtitles — “even though I cover this planet, I am not from here. And nor are you” — and troubles questions of constructed identities and their resulting segregations. “Liquidity, Inc.” also tells the story of Vietnamese immigrant Jacob M. Wood, a trader and part-time MMA fighter laid off in the wake of Lehman Brothers’ collapse, who returns to the sport as an announcer. He equates keeping your guard up while fighting to maintaining a shock-proof financial portfolio, lest you be surprised by the “kiss of death.” Steyerl cuts from a father fighting in a match, embarrassed to reveal his Starbucks day job, to weather forecasts of collapsed nation states to limp bodies splashing in and cracking the surface of a digitally rendered ocean, to emails about losing the budget for this very piece. The piece creates an ironic, layered critique of class pressures, colonialism, and even art making itself. Water rendered in vector art bubbles and bulges, and speech bubbles stretch and melt across the screen as a voiceover intones, “When you have liquidity, you’re in control.” Steyerl segues between unexpected storylines and builds toward a logic that feels tenuous: a lament of the ever malleable, ever connecting, ever liquid internet’s failure at making real liquidity easier.
Every Tuesday is Art Tuesday here at Adafruit! Today we celebrate artists and makers from around the world who are designing innovative and creative works using technology, science, electronics and more. You can start your own career as an artist today with Adafruit’s conductive paints, art-related electronics kits, LEDs, wearables, 3D printers and more! Make your most imaginative designs come to life with our helpful tutorials from the Adafruit Learning System. And don’t forget to check in every Art Tuesday for more artistic inspiration here on the Adafruit Blog!