Nope, I don't think I even realized what the exhibits were about let alone if they were from different countries. My parents didn't enlighten me about any of it and I was only 11.
The World's Fair
- Thread starter genero81
- Start date
Curiously, I was only reading about this reconstruction of the Parthenon in Nashville recently. It is in fact a full scale replica of the original in Athens complete with a replica of the Athena Parthenos statue (erected though in 1990) that stood in the original Parthenon. Originally built of plaster, wood, and brick, the Nashville Parthenon was not intended to be permanent, but the cost of demolishing the structure combined with its popularity with residents and visitors alike resulted in it being left standing after the exposition.
The statue of Athena Parthenos is a reconstruction, to careful scholarly standards, of the long-lost original: she is cuirassed and helmeted, carries a shield on her left arm, a 6-foot-high (1.8 m) statue of Nike (Victory) in her right palm, and stands 42 feet (13 m) high, gilt with more than 8 pounds (3.6 kg) of gold leaf; an equally colossal serpent rears its head between her and her shield.
Mention of the Parthenon makes me think of the enigmatic statement the C's made about the building in the session dated 16 August 1997:
Q: What is behind the little door in the Southern Shaft [of the Great Pyramid]?
A: Secrets of the Parthenon.
Q: What are the secrets of the Parthenon?
A: You will see.
Q: How will I see?
A: With your mind's eye.
This last point may relate to earlier comments in that session the C's had made about the Queen's Chamber and what is evidently hyperdimensional physics put into application within the Great Pyramid:
Q: That's the truth! Okay, we have this Orion Mystery book. It seems to have quite a bit of discussion on the shafts that hint at something you mentioned a long time ago. They say that the fellows who originally measured the shafts were in error and their measurements are accurate now. But, you mentioned that the shafts change position, so the previous, as well as the current measurements could BOTH be correct. Is that so? Q: What is behind the little door in the Southern Shaft [of the Great Pyramid]?
A: Secrets of the Parthenon.
Q: What are the secrets of the Parthenon?
A: You will see.
Q: How will I see?
A: With your mind's eye.
This last point may relate to earlier comments in that session the C's had made about the Queen's Chamber and what is evidently hyperdimensional physics put into application within the Great Pyramid:
A: Ultrasound reading showed inner chambers change in position.
Q: What were the functions of the so-called air shafts of these chambers. It seems that the southern shaft of the Queen's chamber orients to Sirius, and the southern shaft of the King's chamber orients to Orion, but only at certain times. What was the function of the orientation to these stars?
A: Stand within airshaft of the queen's chamber, and you shall not age.
Q: You can't do that... they are only about 22 cm square. And, the queen's chamber air shaft does not even open to the outside. And, up in this shaft, they have discovered a little door which has not, to my knowledge, been opened yet. Nevertheless, one could not stand in these shafts.
A: Why not?
Q: Because they are only 22 cm square!
A: You are allowing third density supposition to creep in.
If we relate this last statement and the earlier one relating to using "your mind's eye" to the Parthenon, then it begs the question whether there is something special about its design, which may link with hyperdimensional attributes such as those built into the Great Pyramid?
The Parthenon is built on a the great limestone rock, whereas the Great Pyramid is primarily built of limestone. It was not the first temple to have been constructed at the site for it had long been regarded a sacred place well before the Minoan and Mycenaean cultures that gave rise to the archaic Greek civilisation of the classical period. It was the Athenian leader Pericles who initiated the construction of the present standing temple of Athena in 447 BC after the destruction of two earlier temples dedicated to Athena by the Persians. Built by the architects Ictinus and Callicrates under the supervision of the sculptor Phidias, the temple is generally considered to be the culmination of the development of the Doric order, the simplest of the three classical Greek architectural styles.It was the supreme expression of the ancient Greek architectural genius and represents the marriage of simplicity and power. The key fact to take away though is that the Parthenon was built to extremely precise dimensions according to the mathematical ratios of sacred geometry.
The Parthenon is built on a the great limestone rock, whereas the Great Pyramid is primarily built of limestone. It was not the first temple to have been constructed at the site for it had long been regarded a sacred place well before the Minoan and Mycenaean cultures that gave rise to the archaic Greek civilisation of the classical period. It was the Athenian leader Pericles who initiated the construction of the present standing temple of Athena in 447 BC after the destruction of two earlier temples dedicated to Athena by the Persians. Built by the architects Ictinus and Callicrates under the supervision of the sculptor Phidias, the temple is generally considered to be the culmination of the development of the Doric order, the simplest of the three classical Greek architectural styles.It was the supreme expression of the ancient Greek architectural genius and represents the marriage of simplicity and power. The key fact to take away though is that the Parthenon was built to extremely precise dimensions according to the mathematical ratios of sacred geometry.
The same fact is true of the Great Pyramid and Stonehenge as well and a myriad of other ancient buildings and sacred sites. For the Greeks, it was Pythagoras and his followers who first highlighted the relationship between sacred geometry and the mathematical order inherent in material creation that was reflected right through nature, as well as in music (leading to his concept of the 'music of the spheres'). However, it is Euclid who is viewed today as the father of Greek geometry, although it is Plato that the Platonic solids are named after. To understand what the C's may be driving at above, I would quote the following useful summation of sacred geometry from a source I found recently:
Number, music, geometry, and cosmology or the four great liberal arts of the ancient world. These are simple universal languages, as relevant today as they have always been, and still found in all known sciences and cultures without disagreement. Indeed one would expect any reasonable, intelligent, three dimensional being anywhere in the universe to know about them.
Geometry is nothing more than the simple basic shapes we know as a circle, a triangle, a square, a sphere, a tetrahedron and a cube, moving all the way through each and every dimension. These are what composes everything in our universe.
The five elements are represented with geometric shapes, these are known as the Platonic solids. The tetrahedron is fire. The octahedron represents air. The cube is Earth. The icosahedron is water. Finally the dodecahedron is the mysterious fifth element of aether.
This merely scratches the surface. The most beautiful thing about sacred geometry, is the world of beautiful things that you can discover when you seek to know more of the keys that it holds.
So, how was this sacred geometry incorporated into the Parthenon?
The ancient Greeks assigned various attributes to the Platonic solids and to certain geometrically-derived ratios, investing them with "meaning." For example, the cube symbolized kingship and earthly foundations, while the Golden Section was seen as a dynamic principle embodying philosphy and wisdom. Thus a building dedicated to a god-king might bear traces of cubic geometry, while one dedicated to a heavenly god might have been constructed using Golden Section proportions.
Phi = 1.618…
Sacred Geometry
- The Parthenon was built to extremely precise dimensions according to the mathematical ratios of sacred geometry.
- The rectangular building (measured at the top step of its base to be 101.34 feet wide by 228.14 feet long) was constructed of brilliant white marble, surrounded by 46 great columns, roofed with tiles, and housed a nearly 40 foot tall statue of the goddess Athena. The statue, known as Athena Promachos, Athena the Champion, was made of wood, gold and ivory and could be seen from a distance of many miles.
- Height of the columns – The structural beam on top of the columns is in a golden ratio proportion to the height of the columns. Note that each of the grid lines is a golden ratio proportion of the one below it, so the third golden ratio grid line from the bottom to the top at the base of the support beam represents a length that is phi cubed, 0.236, from the top of the beam to the base of the column.
- Dividing line of the root support beam - The structural beam on top of the columns has a horizontal dividing line that is in golden ratio proportion to the height of the support beam.
- Width of the columns – The width of the columns is in a golden ratio proportion formed by the distance from the center line of the columns to the outside of the columns.
- The golden ratio proportions that appear in the height of the roof support beam and in the decorative rectangular sections that run horizontally across it. The gold colored grids below are golden rectangles, with a width to height ratio of exactly 1.618 to 1
- The name Parthenon refers to the worship of Athena, the goddess and patroness of the city of Athens.
- Athena issued fully grown from the head of her father Zeus.
- She represents the highest order of spiritual development and the gifts of intellect and understanding. Athena is the symbol of the universal human aspiration for wisdom.
So, were the C's directing us to sacred geometry and mathematics and their important relationship to hyperdimensional physics? I think so, given what they said here about what lay behind the real secret of the Great Pyramid in that same session:
Q: What IS the key to the pyramid?
A: Use the math as given.
For those who may be interested, we have been looking at the significance of sacred geometry (as expressed in symbolism and structures) in the Alton Towers thread recently - see: Alton Towers, Sir Francis Bacon and the Rosicrucians.
This begs the question why a full scale replica of the Parthenon was chosen to serve as the centrepiece of Tennessee's Centennial Celebration. In fairness, I should add that a number of other buildings at the exposition were also based on ancient originals. However, the Parthenon was the only one that was an exact reproduction. The answer may lie in the men who thought up the idea and then designed it. The designer was the architect and Confederate veteran William Crawford Smith. Smith had, amongst other things, been commissioned to design the Masonic Temple in Columbia, Tennessee in 1883. This suggests that he himself was most probably a Freemason, thus being a member of a secret fraternity that is a modern counterpart of the old mystery schools of the classical age and a society that claims to draws its pedigree from the medieval stonemasons lodges and guilds (and possibly the Knights Templar) that had preserved the knowledge of sacred geometry inherited from the old Roman collegia of architects and stonemasons. Moreover, the man who had first suggested the Parthenon as a subject for the exhibition was Major Eugene Castner Lewis, an American engineer and businessman, who was almost certainly a Freemason too judging by his mausoleum:
This begs the question why a full scale replica of the Parthenon was chosen to serve as the centrepiece of Tennessee's Centennial Celebration. In fairness, I should add that a number of other buildings at the exposition were also based on ancient originals. However, the Parthenon was the only one that was an exact reproduction. The answer may lie in the men who thought up the idea and then designed it. The designer was the architect and Confederate veteran William Crawford Smith. Smith had, amongst other things, been commissioned to design the Masonic Temple in Columbia, Tennessee in 1883. This suggests that he himself was most probably a Freemason, thus being a member of a secret fraternity that is a modern counterpart of the old mystery schools of the classical age and a society that claims to draws its pedigree from the medieval stonemasons lodges and guilds (and possibly the Knights Templar) that had preserved the knowledge of sacred geometry inherited from the old Roman collegia of architects and stonemasons. Moreover, the man who had first suggested the Parthenon as a subject for the exhibition was Major Eugene Castner Lewis, an American engineer and businessman, who was almost certainly a Freemason too judging by his mausoleum:
As a Freemason, he probably recognised the Parthenon as the ultimate expression of sacred geometry within Athenian and classical Greek architecture.
In this last connection, it is worth recalling what the C's once told Laura:
A: Yes. So do the Masons.
And perhaps those writings contain the secrets that connect sacred geometry to hyperdimensional physics?
The point to take away is whether similar expressions of esoteric knowledge were displayed at other exhibitions or world fairs for those who were in the known and could spot them?
One example may be the Phrygian cap on the large statue at the Chicago World Fair that was mentioned in an earlier post. Although associated in antiquity with several peoples in Eastern Europe and Anatolia, including the Persians, the Medes and the Scythians, as well as in the Balkans, Dacia, Thrace and in Phrygia, where the name originated, Phrygian caps came to signify freedom and the pursuit of liberty first in the American Revolution and then in the French Revolution, where they were known as Jacobin hats after the members of the Jacobin movement (strongly linked to illuminated Freemasonry), which played a central part in the revolution. In America, the Phrygian cap became the symbol of republicanism and anti-monarchical sentiment and appeared in the United States as the headgear of Columbia, who in turn was visualised as a goddess-like female national personification of the United States and of Liberty herself, comparable to the British Britannia, the Italian Italia Turrita and the French Marianne.
Hence, the statue displayed at the 1936 Chicago World Fair may have been a representation of Columbia, who in turn invokes parallels to the goddess Athena, with her cap of invisibility, recalling here that the City of Athens is considered to be the original home of western democracy.
How interesting..I look forward to watching some of these videos tonight..
I first heard of the World's Fair in the 1990 alternative-history novel "The Difference Engine", by William Gibson and Bruce Sterling (set in an 1800s London).. When I read it I assumed the Crystal Palace was fictional, it didn't sound like a real thing at all and I never heard of it or thought about it again until years later when I read some of the conspiracy-ish stuff on the internet and was surprised to find it had been real..
And, I've actually been to one of (the modern, less strange seeming versions of) these things too, the one in Brisbane, Australia in 1988. Had no idea it was a "World's Fair" until just now! My only memories of it are being extremely bored having to stand around in the sun for hours (we went there because the brass band my parents were in was playing)... and going on the monorail, which was super novel, it might've been the first time I ever went on a train...
I first heard of the World's Fair in the 1990 alternative-history novel "The Difference Engine", by William Gibson and Bruce Sterling (set in an 1800s London).. When I read it I assumed the Crystal Palace was fictional, it didn't sound like a real thing at all and I never heard of it or thought about it again until years later when I read some of the conspiracy-ish stuff on the internet and was surprised to find it had been real..
And, I've actually been to one of (the modern, less strange seeming versions of) these things too, the one in Brisbane, Australia in 1988. Had no idea it was a "World's Fair" until just now! My only memories of it are being extremely bored having to stand around in the sun for hours (we went there because the brass band my parents were in was playing)... and going on the monorail, which was super novel, it might've been the first time I ever went on a train...
I cannot speak to the details and whether something fishy went on there, but one thing is for sure: the importance of the "long 19th century" cannot be overstated; the more you look into it, the more you realize it changed everything, all aspects of reality. The world fairs seem to be such an archetypical feature of that period that I wouldn't be surprised if at least at the symbolical level they are important, perhaps as some kind of "marker events"?
I agree. There were clearly powerful esoteric groups operating in the background (as they still today), shaping events and these were not just the usual suspects such as Freemasonry and the Rosicrucians. We should not forget either the C's references to surface world agents of the Nation of the Third Eye either (which have included Sargon the Great, Nefertiti and in more modern times the Rothschilds). These esoteric groups operate as circles within circles, with overlapping memberships. Some of these esoteric groups come and go like the Hellfire Club, the Orphic Circle and the Society of the Golden Dawn but they often give rise to others such as the Theosophists and Anthroposophy (established by Rudolf Steiner). Such groups often contained what we today might call social influencers such as politicians, writers, poets, artists, philosophers, scientists and prominent businessmen (think today of Elon Musk for example). Behind the scenes, such esoteric groups were though helping to shape our modern world.
I believe you follow the work of Daniel Liszt (the Dark Journalist) in his X-Series podcasts. I attach a link to one particular podcast where he also interviews the writer and researcher Dr Joseph Farrell about some of these esoteric groups and the myriad connections between them since it may help to connect the dots.
See: Orphic Circle Mystery Schools | Shift Frequency
All this makes me think of what the C's said in the session dated 4 October 1997:
Q: In the same vein, I have noticed that there are two classes of arachnids. There are scorpions and there are spiders. The zodiac was changed by taking the pincers away from the Scorpion and creating out of them the sign of Libra. This image was one of a woman holding a balance scales, usually blindfolded. This was done within recorded history, but was probably formalized through the occult traditions of Kaballa. Now, in trying to figure out who has on what color hat, if there is such a thing, I have come to a tentative conclusion that the spider, or spinner of webs, is the Rosicrucian encampment, and that the Scorpion represents the seeker of wisdom... because, in fact, the word for Scorpio comes from the same root as that which means to pierce or unveil. Therefore, the Scorpion is also Perseus, per Ziu, or 'for God.' And the Rosicrucians are the 'other,' so to speak. Can you elaborate on this for me? Or comment? I believe you follow the work of Daniel Liszt (the Dark Journalist) in his X-Series podcasts. I attach a link to one particular podcast where he also interviews the writer and researcher Dr Joseph Farrell about some of these esoteric groups and the myriad connections between them since it may help to connect the dots.
See: Orphic Circle Mystery Schools | Shift Frequency
All this makes me think of what the C's said in the session dated 4 October 1997:
A: What a tangled web we spin, when we must not let you in.
Expositions universelles de Paris — Wikipédia
Universal exhibitions in Paris
This article deals with the various international and national exhibitions that were held in Paris , and which partly shaped the French capital that we know today.
World's Fair of 1900 .
National Exhibition of 1844Edit
The Exhibition of 1849.
Main article: Exhibition of products of French industry .
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This is a National Exhibition that took place in 1844 in a temporary structure installed on the Champs-Élysées in Paris . It was one of a series of eleven Expositions which began in 1798 and which encouraged the agricultural and technological development of France . The success of the first Exhibition in Paris at the end of 1844 gave rise to a whole series across Europe such as the Universal Exhibition of 1851 , in London , which brought together craftsmen and industrialists from all over the world.
Other European Exhibitions followed: that of Bern and Madrid in 1845 , Brussels and Bordeaux in 1847 , that of Saint Petersburg in 1849 and Lisbon in 1849 .
The Exhibition started again in Paris in 1849 and was called the Exhibition of the Second Republic or the National Exhibition of Products of the Agricultural and Manufacturing Industry .
Palace of Industry, built for the first Universal Exhibition .
Universal Exhibition of 1855Edit
Main article: Universal Exhibition of 1855 .The first Universal Industrial Products Exhibition (of Paris) is held, by Imperial Decree of theMarch 8, 1853, on the Champs-Élysées from May 15 to October 31 , 1855.
The exhibition organized under the presidency of the imperial commission of Prince Napoleon and Arlès-Dufour, will bring together 23,954 exhibitors in total. This first attempt to compete with England and Queen Victoria was not totally successful because France will come out of this one in deficit.
Universal Exhibition of 1867Edit
Main article: World's Fair of 1867 .The second Universal Exhibition is held from April 1 to November 3 , 1867on the Champ de Mars . 41 countries are present for the Exhibition.
Brand new Paris is celebrating, the major works have just been completed. The Universal Exhibition marks the apogee of the Second Empire and the triumph of Saint-Simonian liberalism .
The main building is a large oval, centered on a garden, whose concentric galleries group together the themes and the radial slices the countries.
The Champ-de-Mars, photo by Frédéric Martens.
The Exhibition on the Seine side, published in Le Monde Illustré 1867.
Universal Exhibition of 1878Edit
Main article: World's Fair of 1878 .
Panorama of the Universal Exhibition of 1878 .
The Universal Exhibition of 1878 was the third to take place in Paris.
Realization of the former Palais du Trocadéro by the architects Gabriel Davioud and Jules Bourdais , destroyed for the 1937 Exhibition. The Jardin du Trocadéro is designed by Adolphe Alphand
The person in charge of metal constructions is Henri de Dion , who died before the end of the construction.
Léopold Flameng is a medalist in the engravers category.
François Lacaze Pounçou receives a gold medal in the fermented drinks category for his rum, produced by the Marquisat de Capesterre factory in Guadeloupe. [ 1 ]
Jean-Antoine Injalbert exhibits.
The Legion of Honor is awarded to Benjamin Peugeot, manufacturer of the sewing machine .
Émile Reynaud obtains an “honorable mention” for his Praxinoscope .
16 million visitors [ref. necessary] .
World's Fair of 1889Edit
Main article: Paris World's Fair of 1889 .
The Exposition of 1889 viewed from a balloon.
This Exhibition is organized by Adolphe Alphand , it takes place from May 6 to October 31 , 1889. Wanting to celebrate the centenary of the French Revolution , it is therefore boycotted by many European monarchies such as Germany and Austria-Hungary, but it nevertheless manages to gather 32.3 million visitors [ 2 ] out of its 50 hectares. The most striking symbols of this Universal Exhibition are the Eiffel Tower as well as Ferdinand Dutert 's huge Galerie des Machines (surrounded by three engineers: Pietron, Charton and Contamin ) both built for the occasion. It is also the emergence of the School of Nancyand the arrival of Art Nouveau in France.
The Eiffel Tower was then considered as a temporary construction intended to be dismantled in the short term (its creator, the engineer Gustave Eiffel , obtained an operating concession which saved it), while the Palais du Trocadéro opposite it was intended to last. The opposite is happening.
Universal Exhibition of 1900Edit
Main article: World's Fair of 1900 .
The Palace of Electricity and the Water Tower, at the Universal Exhibition of 1900.
The Alexandre-III bridge at the time of its inauguration on the occasion of the Universal Exhibition of 1900.
Practical map of the Universal Exhibition of 1900.
It is the most important Universal Exhibition in France and the first of which there is a cinematographic trace. It attracted 50.8 million visitors.
Some legacies and attractions:
- New transports:
- a moving sidewalk called " Street of the future "
- the appearance of the Métropolitain , the first metro line in Paris (Porte de Vincennes - Porte Maillot) being opened on the occasion of the Exhibition
- new stations ( Orsay , Invalides and Lyon stations )
- the luminous fountain and the nocturnal use of electricity
- the projection of films by the Lumière brothers on a giant screen and presentation of the Cinéorama
- The Petit and Grand Palais are built. They are located on the site of the Palais de l'Industrie , the result of a previous Universal Exhibition of 1855 .
- A big wheel is built on the sidelines of the Avenue de Suffren Exhibition, as well as a Swiss village and a celestial globe. It has an announced diameter of 100 meters and was dismantled between 1920 and 1922 .
The French Pavilion of Decorative Arts is created by Georges Hoentschel .
An exhibition of railway equipment is organized between the Champ-de-Mars and Vincennes.
- The Universal Exhibition of 1900 in Paris, Eugène Trutat - Photo library of the Museum of Toulouse
The Grand Palace of Fine Arts, Paris, Eugène Trutat - Photo library of the Museum of Toulouse .
The Eiffel Tower, Paris, Eugène Trutat - Photo library of the Museum of Toulouse .
Paris, Eugène Trutat - Photo library of the Museum of Toulouse .
Paris, Eugène Trutat - Photo library of the Museum of Toulouse .- the Universal Exhibition of 1900 [ archive ] onCommons
International Exhibition of Modern Decorative and Industrial Arts of 1925Edit
Main article: International Exhibition of Modern Decorative and Industrial Arts .Artistic creation in France during the Roaring Twenties was marked above all by the organization of the International Exhibition of Modern Decorative and Industrial Arts, which was held in Paris from April to October 1925 . On this occasion, international avant-garde ideas concerning architecture and the applied arts collide.
Mr. Dufrêne says that “the art of 1900 was the art of the domain of fantasy, that of 1925 is of the domain of reason. However, during the Exhibition, two trends dominate: a first style influenced by the language of Art Nouveau and a second called "modern" which is distinguished by an innovative vocabulary, borrowed from Cubism and Russian Constructivism .
The Art Deco style took off well before the war in the contestation and abuses provoked by Art Nouveau . Its development took place with the major event of the mid-1920s in France, the International Exhibition. Located between the Esplanade des Invalides and the surroundings of the Grand and Petit Palais , the Exhibition welcomes 4,000 guests at the inauguration, on April 28 , and thousands of visitors each day.
The Art Deco designation implies a desire for a decorative style. However, two trends stand out: the contemporaries and the old decor of the 1900s ( Jacques-Émile Ruhlmann ) and the supporters of modernism, the international style , purism . The specificity of the Art Deco creator is that he is considered as an "integrator", he must create the entire chosen room, from floor to ceiling, he must harmoniously design architecture and furniture, accessories.
Le Corbusier , for the Pavilion of the New Spirit which he designed inJuly 1925with his cousin Pierre Jeanneret on the occasion of the Exhibition, also produces all the furniture which he rather calls “equipment”, sorts of standard lockers, incorporated into the walls or modular. The Pavillon de l'Esprit Nouveau is an ephemeral building, illustrating the concepts of purism and the magazine Esprit Nouveau founded by Amédée Ozenfant and Le Corbusier in 1920. Inside the living cell, pictorial works by Léger ( The Baluster ), Ozenfant, Juan Gris , Pablo Picasso and Le Corbusier ( Still Life of the New Spirit ) are exhibited.
As for Ruhlmann, on the occasion of the Exhibition, he created the Pavilion of the Collector , surrounding himself with a good number of craftsmen and artists. Pierre Patout designs the structure of the building, in a rather classic style: rounded projection on the garden side, friezes decorated with bas reliefs, projection of the oval living room, simplified columns (without base or capital). The interior decoration, luxurious, elegant, of high quality, is the work of Ruhlmann, who clutters the rooms with furniture, refined and precious objects, inspired by the style of the 18th century . This pavilion arouses the admiration of all visitors and is then considered the pinnacle of good French taste.
Note: The 1931 Paris Colonial Exposition was not a World's Fair.
1937 World's FairEdit
Main article: 1937 World's Fair .The International Exhibition of "Arts and Techniques in Modern Life", held in Paris fromMay 25AtNovember 25, 1937, is the first Exhibition organized in France according to the rules of the 1928 Paris Convention on International Exhibitions. It is also the last event of its kind to have taken place in Paris.
A law ofJuly 6, 1934decides to organize an International Exhibition in Paris, andJuly 19 Edmond Labbé is appointed Commissioner General by the French Government. It must bring together various proposals from the French Parliament in a coherent Exhibition project. He chooses to demonstrate that Art and Technique are not opposed but that their union is on the contrary indispensable: the Beautiful and the Useful must be, he says, indissolubly linked. In a context of economic crisis and international political tensions, the 1937 Exhibition must also promote peace.
The project was originally modest, the Exhibition was to be set up mainly on the Champ-de-Mars and in the gardens of the Trocadéro. The grounds are the subject of two successive enlargements and extend from the Pont de l'Alma to the Île aux Cygnes (Paris) , with annexes outside Paris. Most of the buildings are temporary, with a few exceptions: the Palais de Chaillot replaces the Ancien Palais du Trocadéro [ 3 ] .
The Palace of Modern Art Museums is built on the grounds of the military handling and the Polish Embassy (the latter is demolished and the Hôtel de Sagan bought by the French State is offered to Poland in compensation) . It is to receive the Musée d'Art Moderne de la Ville de Paris on the one hand, and the Musée National d'Art Moderne on the other, whose collections were until then exhibited at the Luxembourg Palace. The pavilion of Public Works is preserved, it now houses the Economic and Social Council . The width of the Jena bridge is doubled [ 4 ] .
The social movements born of the Popular Front lead to major delays in the work and numerous incidents on the sites: strikes, blockades. The French Government is obliged to pay extra wages to make the workers work in the evening and on Sundays, and despite this the Exhibition opens a month behind schedule [ 5 ] .
1947 Specialized ExhibitionEdit
Main article: 1947 Specialty Exhibition .The International Housing and Town Planning Exhibition (1947) is a so-called "specialized" exhibition recognized by the Bureau international des expositions (BIE) which took place from July 10 to August 15 , 1947at the Grand Palais in Paris , France on the theme of housing and urban planning. It dealt in particular with major themes such as town planning, construction and household equipment and presented numerous works by renowned architects such as Le Corbusier , Sven Ivar Lind and Luis Herman de Koninck.
The exhibition was chosen and recognized by the General Assembly of the Bureau international des expositions du June 11 , 1946.
CongressEdit
Many congresses are held on the sidelines of the exhibitions, for example the international congresses of women during the editions of 1878, 1889 and 1900 [ 6 ] .
Notes and referencesEdit
- ↑ Official catalogue: list of awards / International Universal Exhibition of 1878, in Paris; Ministry of Agriculture and Trade ,1878 ( read online [ archive ] )
- ↑ Pascal Ory , The Universal Exhibitions of Paris , Ramsay, 1982
- ↑ The old Trocadero Palace [ archive ]
- ↑ Detailed article on the architecture and sculptures of the 1937 Exposition [ archive ] , Wikiwix archive.
- ↑ Photos of the 1937 Exposition [ archive ]
- ↑ Anne Rasmussen, "The International Congresses linked to the Universal Exhibitions of Paris (1867-1900)" [ archive ] , 1900. Review of intellectual history (Georges-Sorel notebooks), 1989, 7, p. 23-44.
See as wellEdit
- [Pinot 1992] Florence Pinot de Villechenon, Universal Exhibitions , PUF, coll. "what do I know",1992, on gallica ( online presentation [ archive ] ).
- “Pavilion of new times, manifesto of the CIAMs : attempt at a museum of popular education (town planning)”, where Eileen Gray is invited to exhibit her Holiday Center project.
- “Universal Exhibition of 1889” by E.Monod.
Related articlesEdit
- International Bureau of Exhibitions
- Innovation in Europe during the Belle Époque
- Remains of international exhibitions in Paris
- Exhibition of products of French industry
external linksEdit
- “ The Universal Exhibitions of Paris ” ( Archive.org • Wikiwix • Archive.is • Google • What to do? ) , on blog.bnf.fr.
- “ Official website of the Bureau International des Expositions (BIE) ” [ archive ] , at bie-paris.org (consulted inFebruary 2022) .
- “ The Universal Exhibitions in Paris 1867-1900 ” [ archive ] , on expositions.bnf.fr (consulted inFebruary 2022) .
- " Palace, pavilions and galleries: the buildings of the Universal Exhibitions in representation (1798-1900) " [ archive ] , virtual exhibition, on Digital Conservatory of Arts and Crafts [ archive ] (consulted inFebruary 2022) .
- The archives relating to the Universal Exhibitions are kept at the National Archives , Pierrefitte-sur-Seine site, in sub-series F/12 (for Exhibitions of economic and scientific interest) [ archive ] [PDF] and F/21 ( for exclusively artistic Exhibitions) [ archive ] [PDF] .
Architecture and urban planning portal 
Paris portal 
19th century portal _ 
20th century portal _
As a follow-up to Perlou's excellent post on the buildings constructed in Paris as a result of international exhibitions, which have become in turn Parisian landmarks, I would mention the highly esoteric glass pyramid erected at the Louvre Museum, which was inaugurated on the 4 March 1989, and cost a total of two billion Francs to construct.
I appreciate that it was not constructed for any exhibition but it is still a highly esoteric building to my way of thinking.
Apparently, it was not a new idea since the idea of a pyramid at the Louvre actually dates from the 19th century. A pyramid in the Napoleon Courtyard was initially proposed for the celebrations of the French Revolution, in particular for the centenary (architect Louis Ernest Lheureux had proposed a cyclopean pyramid project in neo-Aztec style).
Furthermore, in a small booklet, “Memoirs on two great obligations to be fulfilled by the French”, written by the novelist Balzac and published in 1809, one of these obligations was to erect, in the courtyard of the Louvre, a pyramid which would be a national monument of recognition to the Emperor Napoleon, who, of course, famously visited the Great Pyramid at Giza in Egypt and spent a night in the King's Chamber all alone. Apparently, he intended to emulate two other great military strategists, Alexander the Great and Julius Caesar, who had done the same thing with the supposed aim of finding themselves. He may also have wished to receive some kind of mystical or initiatory revelation linked to the symbolism of rebirth inherent in the pyramids, which could have been inspired by his links with Freemasonry. When he emerged in the morning looking pale and disconcerted, his men wanted to know what had happened to him, to which he was supposed to have replied: “Even if I told it, you wouldn’t believe it.” Reputedly, he never spoke about it again.
I am aware that the Glass Pyramid of the Louvre has sparked all kinds of conspiracy theories, including the urban legend that there are 666 (the number of the beast of the Apocalypse) glass panels on the pyramid. In reality, there are 603 diamonds and 70 triangles, giving a total of 673 glass panels in all.
What is true is that the Glass Pyramid of the Louvre is based on the proportions of the Great Pyramid in Egypt. With a square base of 35.24 meters on each side and a height of 21.64 meters, the Louvre Pyramid is an exact replica, scaled-down, of the most famous pyramid in the world. It also has the same slope of 51 degrees. Moreover, just a short walk from the Louvre, one can find the 3,300-year-old Egyptian Obelisk brought from the Luxor Temple in 1833, which is on the same line as the Glass Pyramid. Coincidence?
However, the Louvre Glass Pyramid is not alone since it is surrounded by three much smaller replicas and a fifth pyramid, this one inverted, which is built under the Carrousel du Louvre.
Apparently, it was not a new idea since the idea of a pyramid at the Louvre actually dates from the 19th century. A pyramid in the Napoleon Courtyard was initially proposed for the celebrations of the French Revolution, in particular for the centenary (architect Louis Ernest Lheureux had proposed a cyclopean pyramid project in neo-Aztec style).
Furthermore, in a small booklet, “Memoirs on two great obligations to be fulfilled by the French”, written by the novelist Balzac and published in 1809, one of these obligations was to erect, in the courtyard of the Louvre, a pyramid which would be a national monument of recognition to the Emperor Napoleon, who, of course, famously visited the Great Pyramid at Giza in Egypt and spent a night in the King's Chamber all alone. Apparently, he intended to emulate two other great military strategists, Alexander the Great and Julius Caesar, who had done the same thing with the supposed aim of finding themselves. He may also have wished to receive some kind of mystical or initiatory revelation linked to the symbolism of rebirth inherent in the pyramids, which could have been inspired by his links with Freemasonry. When he emerged in the morning looking pale and disconcerted, his men wanted to know what had happened to him, to which he was supposed to have replied: “Even if I told it, you wouldn’t believe it.” Reputedly, he never spoke about it again.
I am aware that the Glass Pyramid of the Louvre has sparked all kinds of conspiracy theories, including the urban legend that there are 666 (the number of the beast of the Apocalypse) glass panels on the pyramid. In reality, there are 603 diamonds and 70 triangles, giving a total of 673 glass panels in all.
What is true is that the Glass Pyramid of the Louvre is based on the proportions of the Great Pyramid in Egypt. With a square base of 35.24 meters on each side and a height of 21.64 meters, the Louvre Pyramid is an exact replica, scaled-down, of the most famous pyramid in the world. It also has the same slope of 51 degrees. Moreover, just a short walk from the Louvre, one can find the 3,300-year-old Egyptian Obelisk brought from the Luxor Temple in 1833, which is on the same line as the Glass Pyramid. Coincidence?
However, the Louvre Glass Pyramid is not alone since it is surrounded by three much smaller replicas and a fifth pyramid, this one inverted, which is built under the Carrousel du Louvre.
The three small pyramids are meant to represent the three wings of the Louvre – the Richelieu, Sully, and Denon wings. The Inverted Pyramid is one of the other four entrances to the Louvre. It was completed in 1993, after the other pyramids.
For more see: Curious Facts about the Louvre Pyramid in Paris | World In Paris
All very mysterious I think. On the Alton Towers thread, we have been looking recently at the hyperdimensional aspects of pyramids and double pyramids, which, when conjoined at their bases, form octahedrons (as symbolised in two dimensions by the Star of David). See: Alton Towers, Sir Francis Bacon and the Rosicrucians
Is anyone aware of what really lies behind the Glass Pyramid's construction or is it simply just a very grand and fancy entrance to a world famous museum, as the public has been led to believe?
Is anyone aware of what really lies behind the Glass Pyramid's construction or is it simply just a very grand and fancy entrance to a world famous museum, as the public has been led to believe?
About that, here is an article, translated with DeepL :
As a sidenote, take a look at here
Rennes-Le-Château - Le Dossier, la visite de François Mitterrand à Rennes-Le-Château
Rennes-Le-Château reçu la visite surprise de François Mitterrand en 1981 juste avant les élections pérsidentielles. Ce moment fut longuement commenté et alimenta les légendes sur Rennes-Le-Château
rennes--le--chateau-org.translate.goog
About that, here is an article, translated with DeepL :
As a sidenote, take a look at here
Rennes-Le-Château - Le Dossier, la visite de François Mitterrand à Rennes-Le-Château
Rennes-Le-Château reçu la visite surprise de François Mitterrand en 1981 juste avant les élections pérsidentielles. Ce moment fut longuement commenté et alimenta les légendes sur Rennes-Le-Château
Thank you for answering my question in such detail about what may have been the driving force behind the erection of the Louvre Glass Pyramid. It was certainly a fascinating article. I had always assumed that Mitterand was a Freemason but now it seems he wasn't. The pyramid is, of course, a very important symbol to the Freemasons but that is true of other esoteric groups too, such as the Rosicrucians. It is interesting that you should also draw attention to Mitterand's visit to Rennes-le-Chateau in 1981 since this may establish a possible link between Mitterand and Rosicrucianism.
The mention of Rennes-le-Chateau brings us into the mysterious world of Abbé Bérenger Saunière and the Priory of Sion. According to the authors and researchers Guy Patton and Robin Mackness, the authors of ‘Web of Gold’, Saunière was a Martinist. For those not aware, the Martinists were a peculiar, more Catholic leaning branch of Rosicrucianism.
The two authors show that evidence has come to light through the researches of the French writer André Douzet that Abbé Saunière spent much time in the city of Lyon, which was known as the occult centre of France – in this context ‘occult’ refers to those with an interest in the supernatural, magical and mystical aspects of life rather than black magic or satanism. Correspondence addressed to Saunière shows that he was in contact with a secret society in Lyon, called the Martinists, and that he often stayed at a house two doors away from that of Johnny Bricaud, a prominent Martinist.
For those who might want to know more about this link with the Martinists, see my article on the Alton Towers thread Abbé Saunière and the Rosicrucians: Alton Towers, Sir Francis Bacon and the Rosicrucians
However, Abbé Saunière also had links to another mysterious organisation called The Hiéron du Val d'Or which was founded in 1873 by a Jesuit Victor Drevon and the half-Basque, half-Russian Alexis de Sarachaga. It was allied to concepts of royalism and was culturally conservative. It sought to erect a Catholic hermetic freemasonry, contrary to the anti-clerical freemasonry of the Grand Orient de France and was particularly devoted to the doctrine of ‘Christ the King’. The Hiéron attempted to demonstrate the origins of Christianity in the mystical Atlantis and worked to prepare the way for the social political reign of Christ the King in the year 2000 and devoted themselves to the name aor-agni ("light-fire") [MJF: Could the name “aor-agni” have a connection to the “Ahragh” Creed who the C’s said had buried the Benben stone in the Sinai Desert under the aegis of their then Top Director Saphorus? – See the session dated 16 August 1997].
Following the death of de Sarachaga in 1918, Georges Gabriel de Noaillat and his wife Marthe Devuns de Noaillat stayed at Paray and continued the work of the Hiéron. They sought to downplay some of the more unorthodox aspects of the Hiéron's mysticism and comply closer to Catholic orthodoxy.
One of the collaborators of the de Naoillats, Jeanne Lépine-Authelain, corresponded with the esotericist Paul Le Cour who displayed an interest in the Hiéron's claims about Atlantis. Le Cour would go on to become a precursor to the New Age Movement, with his 1937 work The Age of Aquarius. In the book, Le Cour looks forward to the future Age of Aquarius as bringing with it the return of Christ in the role of Christ the King. It is a work of esoteric and apocalyptic Christianity in which the author also voices his belief in an esoteric spiritual tradition that originated in Atlantis…
In his 1979 book Le Tresor du Triangle d’Or (The Treasure of the Golden Triangle), Jean-Luc Chaumeil states that the Hieron practiced a version of Scottish Rite Freemasonry, and the upper degrees of this order constituted the lower degrees of the Priory of Sion itself. Chaumeil describes the group’s disposition as “Christian, Hermetic, and aristocratic.” They proclaimed themselves to be Catholic, even though the Church of Rome condemned them.The mention of Rennes-le-Chateau brings us into the mysterious world of Abbé Bérenger Saunière and the Priory of Sion. According to the authors and researchers Guy Patton and Robin Mackness, the authors of ‘Web of Gold’, Saunière was a Martinist. For those not aware, the Martinists were a peculiar, more Catholic leaning branch of Rosicrucianism.
The two authors show that evidence has come to light through the researches of the French writer André Douzet that Abbé Saunière spent much time in the city of Lyon, which was known as the occult centre of France – in this context ‘occult’ refers to those with an interest in the supernatural, magical and mystical aspects of life rather than black magic or satanism. Correspondence addressed to Saunière shows that he was in contact with a secret society in Lyon, called the Martinists, and that he often stayed at a house two doors away from that of Johnny Bricaud, a prominent Martinist.
For those who might want to know more about this link with the Martinists, see my article on the Alton Towers thread Abbé Saunière and the Rosicrucians: Alton Towers, Sir Francis Bacon and the Rosicrucians
However, Abbé Saunière also had links to another mysterious organisation called The Hiéron du Val d'Or which was founded in 1873 by a Jesuit Victor Drevon and the half-Basque, half-Russian Alexis de Sarachaga. It was allied to concepts of royalism and was culturally conservative. It sought to erect a Catholic hermetic freemasonry, contrary to the anti-clerical freemasonry of the Grand Orient de France and was particularly devoted to the doctrine of ‘Christ the King’. The Hiéron attempted to demonstrate the origins of Christianity in the mystical Atlantis and worked to prepare the way for the social political reign of Christ the King in the year 2000 and devoted themselves to the name aor-agni ("light-fire") [MJF: Could the name “aor-agni” have a connection to the “Ahragh” Creed who the C’s said had buried the Benben stone in the Sinai Desert under the aegis of their then Top Director Saphorus? – See the session dated 16 August 1997].
Following the death of de Sarachaga in 1918, Georges Gabriel de Noaillat and his wife Marthe Devuns de Noaillat stayed at Paray and continued the work of the Hiéron. They sought to downplay some of the more unorthodox aspects of the Hiéron's mysticism and comply closer to Catholic orthodoxy.
One of the collaborators of the de Naoillats, Jeanne Lépine-Authelain, corresponded with the esotericist Paul Le Cour who displayed an interest in the Hiéron's claims about Atlantis. Le Cour would go on to become a precursor to the New Age Movement, with his 1937 work The Age of Aquarius. In the book, Le Cour looks forward to the future Age of Aquarius as bringing with it the return of Christ in the role of Christ the King. It is a work of esoteric and apocalyptic Christianity in which the author also voices his belief in an esoteric spiritual tradition that originated in Atlantis…
Their mystic teachings contained, according to Henry Lincoln, Michael Baigent and Richard Leigh writing in the The Holy Blood and the Holy Grail:
“a characteristic emphasis on sacred geometry and various sacred sites... an insistence on a mystical or Gnostic truth underlying mythological motifs”, and “a preoccupation with the origins of men, races, languages, and symbols... .”
The order was: “Simultaneously Christian and ‘trans-Christian.’ It stressed the importance of the Sacred Heart... sought to recognise Christian and pagan mysteries”, and “Ascribed special significance to Druidic thought - which it... regarded as partially Pythagorean.”
What we should note though is that Le Cour’s ideas would have a great influence on the young Pierre Plantard, the instigator or creator of the modern Priory of Sion. He was inspired by Le Cour's esoteric works, merging them together into his right-wing political views. Plantard had been involved in right-wing political activity since the age of seventeen – attempting to form an anti-Semitic and anti-Masonic organisation Alpha Galates with the aim of "purifying and renewing" France, which was denied by the French authorities. Plantard also used the pseudonym "Varans Vincent" or "Varrans de Verrestra".
Plantard became the editor of ‘Vaincre’, the bulletin of the Alpha Galates, an anti-Masonic, anti-Semitic Right-Wing organisation that stemmed from Plantard's earlier right-wing activities of the 1930s: the Statutes of the Alpha Galates being dated 27 December 1937.
For more see: Alpha Galates and Pierre Plantard De St. Clair
Why is all this relevant to Francois Mitterand you may ask. Well, Pierre Plantard and Francois Mitterend knew each other and, as Guy Patton and Robin Mackness show in their book, both Plantard and Mitterand worked for the Vichy government of Marechal Petain. Indeed, Plantard would work as a propagandist for the Vichy regime until its fall, whereafter he and Mitterand belatedly joined the French Resistance.
Given Plantard's relationship with Mitterand and his later key involvement in promoting the bogus Priory of Sion and by extension the mystery of Rennes-le-Chateau and Abbé Saunière to modern audiences, perhaps Mitterand's visit to Rennes-le-Chateau may come as less of a surprise.
Could Mitterand in his youth (when he was still devoutly Catholic) have been a member of The Hiéron du Val d'Or or, if not, was he at least influenced by its teachings? Given what was said about him in the article you posted, his views and beliefs certainly accord with those of The Hiéron du Val d'Or (which are essentially Rosicrucian in essence). Indeed, it would even explain why he called himself "a bit of a druid", since the Hiéron supposedly ascribed special significance to Druidic thought, which it regarded as partially Pythagorean. Moreover, Pythagoras is known for his famous theorem, which involves the squares of the sides of a right angled triangle (it was possibly a Druid who originally taught it to Pythagoras though), a theorem that is regarded as almost sacred by the Freemasons and Rosicrucians.
On that last note, a triangle with a serpent in the middle was a motif of the Lizards/Serpents and Grey aliens and the Brotherhood of the Serpent, the oldest known secret society. This link could explain the inverted pyramid at the Louvre for in the transcripts the C's had this to say about it:
A: You mentioned pyramid, interesting... And what is the geometric one-dimensional figure that corresponds?
Q: (L) Well, the triangle. And, if you have a triangle point up you have 3, joined to a triangle pointing down, you have 3, you have a 33. Is that something like what we are getting at here?
A: Yes.
Q: (L) Is there a connection between the number 33 and the Great Pyramid in Egypt?
A: Yes.
Q: (L) And what is that connection? Is it that the builders of the pyramid participated in this secret society activity?
A: Yes. And what symbol did you see in "Matrix," for Serpents and Grays?
Q: (L) You are talking about the triangle with the Serpent's head in it?
A: Yes.
Q: (L) Are we talking in terms of this 33 relating to a group of "aliens," or a group of humans with advanced knowledge and abilities?
A: Either/or.
Q: (L) Is this what has been referred to in the Bramley book [Gods of Eden] as the Brotherhood of the Serpent or Snake?
A: Yes.
And, of course, 33 is the top degree in Scottish Rite Freemasonry, whose degrees and rituals were subsumed into the 'Grand Orient de France' Masonic lodge.
Interesting topic...another crazy conspiracy theory? Makes one curious to know more.
The book by Mickoski is apparently this one:
Exposing The Expositions 1851-1915: Ancient Rome in America?: 9788269126617: Amazon.com: Books
Couldn't find an electronic/Kindle version of it.
ADDED: apparently there's a revised version of the book from 2021 that is also a bit cheaper. BUT this edition apparently doesn't include any photographs, only weblinks to them (pretty unconvenient in a paper book):
The book by Mickoski is apparently this one:
Exposing The Expositions 1851-1915: Ancient Rome in America?: 9788269126617: Amazon.com: Books
Couldn't find an electronic/Kindle version of it.
ADDED: apparently there's a revised version of the book from 2021 that is also a bit cheaper. BUT this edition apparently doesn't include any photographs, only weblinks to them (pretty unconvenient in a paper book):
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In a podcast with Mickoski that I Iistened to today he mentioned a website that has listed 'every posible internet resource available' of all the world fairs. With a little diggint I found it, and oh man...there are, indeed, a lot of links that one can follow on that page!
The page is this one:
Jon Paul Sank's World's Fairs Page
I only scratched the surface by following a couple of links.
Having listened to Mickoski I'm not sure what to think of the whole thing. Sure, and as the C's hinted, there's something fishy with these world fares. However, who says that these enormous structures could've not been built by using this 'staff' material? Mickoski says that its impropable because they would've been too weak to hold large crowds, or something. Maybe this page which describes how the 'White city' was build for the fare in Chicago 1893 is then just made up, or is it? On the other hand, even if these things were built with this 'staff' a number of logistical problems come to mind. So, maybe the most plausible explanation is, indeed, that these buildings were already there and that they mostly polished and built upon these existing things?
I have to say that Mickoski gives me the impression of someone who comes up with a pretty interesting initial 'conspiracy theory' (though I'm not sure he's the first one to come up with it) who then runs with it and 'applies' it to pretty much everything...everything we know is a conspiracy!
The page is this one:
Jon Paul Sank's World's Fairs Page
I only scratched the surface by following a couple of links.
Having listened to Mickoski I'm not sure what to think of the whole thing. Sure, and as the C's hinted, there's something fishy with these world fares. However, who says that these enormous structures could've not been built by using this 'staff' material? Mickoski says that its impropable because they would've been too weak to hold large crowds, or something. Maybe this page which describes how the 'White city' was build for the fare in Chicago 1893 is then just made up, or is it? On the other hand, even if these things were built with this 'staff' a number of logistical problems come to mind. So, maybe the most plausible explanation is, indeed, that these buildings were already there and that they mostly polished and built upon these existing things?
I have to say that Mickoski gives me the impression of someone who comes up with a pretty interesting initial 'conspiracy theory' (though I'm not sure he's the first one to come up with it) who then runs with it and 'applies' it to pretty much everything...everything we know is a conspiracy!
BHelmet
The Living Force
Back to square one. Detective work is in order. Leave pre-conceptions at the door without drawing any conclusions too hastily:
"(L) Wow. Okay. Did some of these massive structures exist prior to the expositions?
A: Partly and expanded."
So, some of the massive structures already existed (!) and what could that imply? who built them and why - what were their real purposes? I am just posing these questions rhetorically - I am not looking for answers just yet - not to jump to speculation, but to compile the clues and evidence to come up with the hypotheses later. Most all the videos analyzing the fairs are laden with conjecture. That doesn't mean the conjectures are invalid but those ideas get in the way of looking at this phenomenon with fresh eyes. Just because somebody mentions tartaria doesn't mean there is no point in looking at or considering the anomalies - it doesn't mean anything. I think you just have to overlook that and look at what is being presented and then try to reverse engineer some kind of better questions about it.
"Q: (LQB) Were these expositions used to program the masses and impose false history?
A: Not exactly as the question is composed, but yes, there were nefarious systems involved. This topic could be more carefully analyzed for clues.
Well OK. So yeah, better questions after carefully looking. But "nefarious systems"?! Interesting indeed!
One last caveat is that the fairs do not exist in a vacuum. There are other bizarre narratives and facts that go hand in hand during the same time period. (Incubator babies?! Orphan Trains?! The great fires) I am pretty convinced that the standard narrative which applies to so many of these fairs is full of holes but I sure don't know what to fill those holes up with yet. I am thinking the first thing is just to look at the standard narratives and see what holds water and what doesn't. Look at the visual evidence with fresh eyes.
"(L) Wow. Okay. Did some of these massive structures exist prior to the expositions?
A: Partly and expanded."
So, some of the massive structures already existed (!) and what could that imply? who built them and why - what were their real purposes? I am just posing these questions rhetorically - I am not looking for answers just yet - not to jump to speculation, but to compile the clues and evidence to come up with the hypotheses later. Most all the videos analyzing the fairs are laden with conjecture. That doesn't mean the conjectures are invalid but those ideas get in the way of looking at this phenomenon with fresh eyes. Just because somebody mentions tartaria doesn't mean there is no point in looking at or considering the anomalies - it doesn't mean anything. I think you just have to overlook that and look at what is being presented and then try to reverse engineer some kind of better questions about it.
"Q: (LQB) Were these expositions used to program the masses and impose false history?
A: Not exactly as the question is composed, but yes, there were nefarious systems involved. This topic could be more carefully analyzed for clues.
Well OK. So yeah, better questions after carefully looking. But "nefarious systems"?! Interesting indeed!
One last caveat is that the fairs do not exist in a vacuum. There are other bizarre narratives and facts that go hand in hand during the same time period. (Incubator babies?! Orphan Trains?! The great fires) I am pretty convinced that the standard narrative which applies to so many of these fairs is full of holes but I sure don't know what to fill those holes up with yet. I am thinking the first thing is just to look at the standard narratives and see what holds water and what doesn't. Look at the visual evidence with fresh eyes.
I'd like to emphasis this point. This convergence of "conspiracy theories" was also something that stuck out to me. My first impression, smells like cover up! My initial speculation was warfare or minor cataclysm as that is the only thing that comes into mind to produce so many misplaced babies.
I did a brief binge months ago reading various (archived) threads on the stolen history forum, a couple I think may be related (if at least with time frame):
stolenhistory(dot)net/threads/1889-post-fire-seattle-rebuild-speed-5-625-buildings-in-18-months.30/
stolenhistory(dot)net/threads/18th-19th-centuries-artificial-earthquakes-volcanoes-and-tsunamis.1233/
stolenhistory(dot)net/threads/1860s-advanced-civil-war-weapons.1774/
A lot of the threads I was reading were all linked in comments so I'm sure there'll be more. I'd also like to note, for the US. the 1800's was also the Westward Expansion. It made me think of the "wild west" in a whole new light. Maybe people were fleeing from something? Like with what's happening now in the US with people moving from the "locked down" states to more "free" states?