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By Xinyi Ding, Ke Li, Tahel Singer
In order to better organize the exhibits and participating countries, the organizers carefully designed the layout of the pavilion, organically combining the participating countries (regions) and exhibit categories (themes) together.
The first is formed by concentric zones, which will house similar products of all nations; the second, of radiating sections, each one given over to a particular nation.
In this way, visitors can tour exhibits of a specific country along the vertical direction, and compare similar exhibits from different countries around the same circular loop.
The outer circle of the Palais du Champ de Mars represented the reality of 19th-century Europe, hosting impressive machines and inventions.
A noteworthy example was the US, which stood out with exhibits such as the telegraph supervised by Samuel FB Morse.
The classification system recognized ten fundamental divisions of human endeavor and further divided into classes, or subgroups, such as works of art, ndustrial products, and raw
The two-part classification system prevented chaos and facilitated exhibit organization. France, being the host, received the most space, followed by Britain, Prussia and north Germany, Austria, Belgium, the US, and Russia, reflecting their status in French governmental esteem.
Although the 1867 Expo was supposed to focus on industrial arts, fine arts were still held in the highest regard. Even the most amazing machines seemed to have a layer of grime compared to the elegance of fine arts. Beside the carefully polished canvas of painters, metal monsters like the Krupp cannon seemed like bullies strutting around a iron factory.
In the innermost oval, surrounding the open-air garden and the central pavilion, visitors saw a novel display: the Gallery of Labor History. This was another attempt by the Second Empire to win the hearts of the working people by giving dignity to labor. The Labor History Gallery provided archaeological proof for the upliftment of 'ordinary people'."
The exhibition, presenting various global currency and measurement systems, aimed to inspire the creation of international standards and spark thoughts among visitors on the connecting ideas and systems behind diverse global items.
Take a walk in Paris Exhibition 1867!
Panoramic Display
Light from the pointer
Select and interact with the interactive elements.
Press button
Press to discover details.
We want to attract the attention and evoke the atmosphere of 1867 from the first glance by:
Metadata - Region
The original data is labelled with regions, representing the displaying place in the exhibition.
We have 1023 objects in total, and 290 of them has ‘Country/Section’ label.
Excluding those without specific geo location (for example, the central garden), we get the regional distribution of each area and plot the world map based on the regional distributions. (For those labelled with two locations, we count them in both regions.)
Metadata - Category
Most frequent categories: Sculpture (85), Architecture (68), Machine (23) .
In total we have 19 distinct categories, we also have 22 occurrences of multiple categories
There are 716 objects with no labeled category
We used some further processing to extract similar categories that could be combined:
[('Animal ?', 'Animal'), ('Machine', 'Machine (Boats)'), ('Architecture (Interior)', 'Architecture')]
Simply viewing pictures without purpose can quickly lead to boredom. It is the knowledge behind them that sustains viewers' interest and allows them to truly immerse themselves in the exhibition.
-> Add some intersting facts and narratives.
The overall experience will be like a true journey, starting from the outer layers of the exhibition, exploring the weighty steam engines and cannons, then progressing into increasingly intricate exhibition areas. Eventually, you will transition into more metaphysical realms, such as art and labor history. Finally, you will reach the focal point of the journey, reflecting on the entire experience and concluding the journey with the historical perspectives and evaluations of others on the exhibition.
Victor Hugo
Down with war! Let there be alliance! Concord! Unity!..
O France, adieu! Thou art too great to remain merely a fatherland. To become a goddess, thou must be separated from motherhood. Soon thou shalt vanish in a transfiguration.
Thou shalt no longer be France: thou shalt be Humanity! No longer a nation, thou shalt be Ubiquity. Thou art destined to dissolve utterly, radiating outward, transcending thy frontiers. Resign thyself to thy immensity. Adieu, O people! Hail, Humankind! Submit to thy sublime and fateful enlargement, O my country; and as Athens became Greece, as Rome became Christianity, thou, France, become the world!
Let's see the demo!
Aymar-Bression, P. Histoire générale de l’exposition universelle de 1867.... France et puissances étrangères (Paris, 1868)
Chevalier, Michel. Exposition Universelle de 1867 à Paris. Rapports du jury internationale publiés sous la direction de m. Michel Chevalier (Paris, 1868, 13 volumes)
Ducuing, François. L'Exposition Universelle de 1867 Illustrée (Paris, 1867).
Exposition Universelle de 1867 à Paris. Catalogue général publié par l Commission impériale (Paris, 1867)
Fournel, Victor. "Voyage à travers l'Exposition," in Le Correspondent, April-July, 1867.
Traditions & Encounters: A Global Perspective on the Past-Volume C: From 1750 to the Present (Jerry H. Bentley , Herbert F. Ziegler)
An Underground Education: The Unauthorized and Outrageous Supplement to Everything You Thought You Knew About Art, Sex, Business, Crime, Science, Medicine, and Other Fields (Richard Zacks)
François Ducuing, Edititeur scientifique, L'Exposition universelle de 1867 illustrée (2 vol), Paris, 1867
Exposition universelle de 1867 á Paris, Rapports du Jury international, publiés sous la direction de Michel Chevalier, Paries: Imprimerie administrative de Paul Dupont, 1868
M.p. Duchesne de Bellecour, Exposition chinoise et japonaise au Champ de Mars, in Revue des deux Mondes, 1867
suno-ai/bark: https://github.com/suno-ai/bark