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dc.contributor.authorCarta, Silvio
dc.date.accessioned2019-12-23T01:12:05Z
dc.date.available2019-12-23T01:12:05Z
dc.date.issued2019-12-05
dc.identifier.citationCarta , S 2019 , ' The whole is greater than the sum of its parts: Conveying an (inter)national image at World Expos ' Bureau International des Expositions (BIE) , vol. 1 , no. 2019 , pp. 56-67 .
dc.identifier.otherPURE: 17526695
dc.identifier.otherPURE UUID: caf53183-61fc-45f9-9b2a-b7d0e710c1e1
dc.identifier.urihttp://hdl.handle.net/2299/22030
dc.description© 2019, Bureau International des Expositions (BIE).
dc.description.abstractThis article elaborates on some of the key aspects that characterise the history of Expos from 1851 to date. It suggests that Expo 2010 Shanghai should be considered as a milestone,as it coincides with the moment of full maturity of the ideas and aesthetic approaches defined by super modernity. This work suggests that, starting from Expo 2010, national pavilions contribute, with their strong branding, their search for uniqueness, and their quest for identity, to the creation of a more general global image. Considered as a whole, national pavilions no longer express the characterising features and innovations of the country that they represent. Instead, they build an international, transnational and truly global image of the collective advancement of human knowledge through the unifying idea of World Expos.en
dc.format.extent12
dc.language.isoeng
dc.relation.ispartofBureau International des Expositions (BIE)
dc.titleThe whole is greater than the sum of its parts: Conveying an (inter)national image at World Exposen
dc.contributor.institutionArt and Design
dc.contributor.institutionDesign Research Group
dc.contributor.institutionSchool of Creative Arts
dc.contributor.institutionTheorising Visual Art and Design
dc.identifier.urlhttps://www.bie-paris.org/site/en/
dc.identifier.urlhttps://www.bie-paris.org/site/images/bulletins/BIE_BULLETIN_2019.pdf
rioxxterms.versionVoR
rioxxterms.typeOther


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