Relevant bibliographies by topics / London International Exhibition

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'London International Exhibition'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'London International Exhibition.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "London International Exhibition"

1

Antonova, Lidia. "«Old London»: Reconstruction of a XVIIth Century Street at Exhibitions of the 1880s." Metamorphoses of history, no. 24 (2022): 0. http://dx.doi.org/10.37490/mh2022242.

Full text
Abstract:
The article analyzes the experience of an original exhibition experiment – the reconstruction of XVII th century buildings at the sites of international exhibitions of the 1880s in London. The circumstances of the origin of the idea and implementation in South Kensington «Streets of Old London» are considered. It was an eclectic set of buildings that really existed in the British capital before the 1666 Great Fire and reproduced in almost original form in 1884. Based on exhibition documents, press publications and photographs, a description is given to the appearance of the «street» and its place within the expositions. Based on photographs and printed sources, a description of the buildings themselves is given: typical urban residential buildings, shops, churches, etc. It is concluded that this example illustrates the educational function of the thematic exhibitions in London, their close interweaving with the problems of the city's architecture, as well as the temporality and transiency of such structures. The last is a characteristic feature of the exhibition space.
APA, Harvard, Vancouver, ISO, and other styles
2

Krzysztofowicz-Kozakowska, Stefania. "„Raumkunst” autorstwa Teodora Axentowicza." Lehahayer 8 (December 19, 2021): 185–90. http://dx.doi.org/10.12797/lh.08.2021.08.06.

Full text
Abstract:
Raumkunst by Teodor Axentowicz
 Three exhibition arrangements analysed in the article – the halls of Polish artists on the exhibitions in St. Louis (1904), London (1906) and XI International Biennial of Art in Venice (1914) – allow us to consider Teodor Axentowicz as a precursor of the new form of organisation of the exhibition space within the Polish culture. This form was a pattern for the subsequent architects of exhibitions belonging to the Society of Polish Artists “Art”. Projects of Axentowicz perfectly fitted to the modern style of exhibition interior arrangement, which was promoted by the Viennese environment of “Secession” at the turn of the 20th century.
APA, Harvard, Vancouver, ISO, and other styles
3

Tillotson, Giles. "The Jaipur Exhibition of 1883." Journal of the Royal Asiatic Society of Great Britain & Ireland 14, no. 2 (2004): 111–26. http://dx.doi.org/10.1017/s1356186304003700.

Full text
Abstract:
The exhibition of decorative and industrial arts that was held in Jaipur in 1883 under the patronage of Maharaja Sawai Madho Singh II (1880–1922) brought together the work of artists and craftsmen from many regions of India, but gave special treatment to the neighbouring states of Rajasthan, and to the pupils of Jaipur's own recently established School of Art. It led to the establishment of a permanent museum of industrial arts in Jaipur, which still exists and continues to hold many of the original exhibits. One of many ambitious exhibitions that followed in the wake of the Great Exhibition of 1851, the Jaipur Exhibition was the first such to be held in an Indian state, coinciding with the International Exhibition in Calcutta and preceding the Indian and Colonial Exhibition in London of 1886.
APA, Harvard, Vancouver, ISO, and other styles
4

Guseva, Anna V. "Chinese Paintings from Western Museum Collections at the International Exhibition of Chinese Art in London, 1935: On the History of Collecting and Attributing Chinese Paintings." Izvestia of the Ural federal university. Series 2. Humanities and Arts 24, no. 2 (2022): 287–302. http://dx.doi.org/10.15826/izv2.2022.24.2.040.

Full text
Abstract:
The International Exhibition of Chinese Art that took place in London’s Burlington House from November 1935 to March 1936 is recognised as the major exhibition of ancient and classical Chinese art of the twentieth century. Over two hundred collectors and institutions from 14 countries provided their objects of art to the exhibition. None of the previous exhibitions had had as many items: the number of objects was extraordinary with 3,080 entries in the catalogue of the London exhibition. Moreover, it was the first foreign exhibition presenting items from the former imperial collection of the Forbidden City (Gugun Museum since 1925). In addition to numerous porcelain and bronze items from private and museum collections, the exhibition contained about 300 paintings (monumental painting, scrolls, album sheets, and fans). While it is generally believed that western collectors only started being seriously interested in painting after World War II, the exhibition contained over a hundred paintings of non-Chinese provenance. Due to its scale, the International Exhibition of Chinese Art of 1935 could be considered a representative example of trends in the Chinese art collecting of the 1930s. For this reason, a close analysis of the catalogue may help enrich our idea of the formation of collections of Chinese art, the formation of taste, and its evolution over time. Data related to the paintings from the catalogue are analysed and then compared to the current descriptions from museum databases and catalogues.
APA, Harvard, Vancouver, ISO, and other styles
5

Attia, Kader. "Sidewalk’s Cloud (2014)." TDR/The Drama Review 59, no. 1 (2015): 2. http://dx.doi.org/10.1162/dram_a_00422.

Full text
Abstract:
Kader Attia lives and works in Berlin and Algiers. His first solo exhibition was held in 1996 in the Democratic Republic of Congo. In 2003, he gained international recognition at the 50th Venice Biennale. In 2014, he was awarded the Berlin Art Prize: Jubilee Foundation 1848/1948. Recent exhibitions include Culture, Another Nature Repaired (solo show), Middelheim Museum, Antwerp; Contre Nature (solo show), Beirut Art Center; Continuum of Repair: The Light of Jacob’s Ladder (solo show), Whitechapel Gallery, London; Repair. 5 Acts (solo show), KW Institute for Contemporary Art, Berlin; Construire, Déconstruire, Reconstruire: Le Corps Utopique (solo show), Musée d’Art Moderne de la Ville de Paris; the Biennale of Dakar; dOCUMENTA(13) in Kassel; Performing Histories (1) at MoMA, New York; and Contested Terrains, Tate Modern, London.
APA, Harvard, Vancouver, ISO, and other styles
6

Agnew, John. "The 1862 London International Exhibition: Machinery on Show and its Message." International Journal for the History of Engineering & Technology 85, no. 1 (2015): 1–30. http://dx.doi.org/10.1179/1758120614z.00000000053.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Liston-Smith, Jennifer. "Ethics, ‘Leadershift’ and ‘More than Coaching’: Insights for coaching psychologists from the CIPD and AC Conferences." Coaching Psychologist 6, no. 1 (2010): 72–75. http://dx.doi.org/10.53841/bpstcp.2010.6.1.72.

Full text
Abstract:
A report on elements of the Chartered Institute of Personnel and Development Annual Conference and Exhibition, 9–11 November 2009 in Manchester, and Going Global: The Association for Coaching International Conference, 11–12 March 2010, in London.
APA, Harvard, Vancouver, ISO, and other styles
8

Zohrab, Irene. "Further New Perspectives on Dostoevsky: ‘Winter Notes on Summer Impressions’. An Intermedial Approach to Dostoevsky’s London Visit." Dostoevsky Journal 24, no. 1 (2023): 122–87. http://dx.doi.org/10.1163/23752122-24010003.

Full text
Abstract:
Abstract The article examines F. M. Dostoevsky’s visit to London in the summer of 1862, in the course of his first trip abroad, which resulted in the writing of Winter Notes on Summer Impressions. A Summer-Long Feuilleton. The task to untangle the impact of numerous impressions on Dostoevsky’s creative process is initiated and the newly arisen circumstances that he encountered on his return to St. Petersburg highlighted. Winter Notes is viewed as a groundbreaking work in Dostoevsky’s canon that contains the seeds of future great works, though not primarily in accordance with the multiple ideologically based readings that have sought to define it. Instead Winter Notes is recognised for its author’s aesthetic explorations into poetics within the confines of Tsarist censorship which required that ‘Official Nationality’, the imperial ideological doctrine be upheld. Dostoevsky’s visit to the 1862 International Exhibition and its art galleries is addressed for the first time on the basis of his brother Mikhail’s letters and other evidence. The exhibition building and the works of William Hogarth, John Martin and J.M.W.Turner are singled out. Their imprint on Dostoevsky’s feuilleton is observed through the stages of impressions gained via intermedial interplay. It affirms that pre-existing notions in the ‘discourse of Englishness’ were absorbed and reinvented by Dostoevsky with the use of figurative language, clarifying the origin of metaphors used in the text, together with literary and biblical allusions. A list of Russian and British artists exhibiting in the International Exhibition of 1862 is included.
APA, Harvard, Vancouver, ISO, and other styles
9

Leventhal, F. M. "“A Tonic to the Nation”: The Festival of Britain, 1951." Albion 27, no. 3 (1995): 445–53. http://dx.doi.org/10.2307/4051737.

Full text
Abstract:
No event of the post-Second World War decade in Britain is recalled as affectionately or enveloped in such an aura of nostalgia as the Festival of Britain, a five-month series of cultural events and exhibits, with its centerpiece at the South Bank in London. But the Festival dear to the recollections of those growing up during and after the war diverged sharply from the original conception of its progenitors.In 1943 the Royal Society of the Arts, partly responsible for the Great Exhibition of 1851, suggested to the government that an international exhibition along similar lines be staged in 1951 to commemorate the earlier event. To propose a celebratory occasion in 1943 was an act of faith that the war would not only end successfully, but that Britain would have recovered sufficiently by 1951 to warrant such a demonstration. In September 1945, with the war over and Labour in power, Gerald Barry, the editor of the News Chronicle, addressed an open letter to Stafford Cripps, then President of the Board of Trade, advocating a trade and cultural exhibition in London as a way of commemorating the centenary of the Crystal Palace. Such an exhibition would advertise British products and display British prowess in design and craftsmanship. He favored a site in the center of London, such as Hyde Park or Battersea, either of which would provide ample space for such an exhibition. What prompted these suggestions was the need to provide practical help to British commerce at a time when it was clearly under pressure shifting from wartime controls to peacetime competition.
APA, Harvard, Vancouver, ISO, and other styles
10

Flavin, Robert. "MICROSCIENCE 2010." Microscopy Today 18, no. 6 (2010): 54. http://dx.doi.org/10.1017/s1551929510001124.

Full text
Abstract:
MICROSCIENCE 2010 was held at the ExCeL International Exhibition and Conference Centre, London, from June 29 to July 1. The conference attracted 519 delegates—the first time that the 500-barrier has been broken. Overall, 2139 visitors from 30 countries from across 5 continents passed through the doors during the three days.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "London International Exhibition"

1

Ortega, Orozco Adriana. "Les expositions d’art mexicain dans l’espace transnational : circulations, médiations et réceptions (1938 – 1952 – 2000)." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA024.

Full text
Abstract:
S’inscrivant à la croisée de l’histoire des expositions et des relations culturelles internationales, la thèse a pour principal objectif l’étude de la construction d’une certaine image de la nation mexicaine à l’étranger à travers l’art et de la manière dont celle-ci a été perçue par des audiences diverses dans différentes contrées. Pour ce faire, la thèse propose une étude de la présence de l’art mexicain dans l’espace transnational analysant des phénomènes de circulation, médiation et réception autour de la première grande exposition d’art mexicain itinérante en Europe. Entre 1952 et 1953, l’exposition Art mexicain du précolombien à nos jours a été présentée successivement à Paris, Stockholm, Londres et Mexico. Cette manifestation culturelle participe d’une longue génèse qui remonte aux années 1920. Après plusieurs tentatives échouées, l’idée de présenter une exposition d’art mexicain en Europe émerge à nouveau dans le monde de l’après-guerre, impulsée par le gouvernement mexicain et une constellation d’acteurs européens étatiques et non-étatiques qui ont fait que le projet se concretise en 1952. La thèse étudie les enjeux que cette manifestation a répresentés pour ses promoteurs, ainsi que la manière dont son discours curatorial consacre une certaine rhétorique nationaliste qui insiste sur la continuité du génie artistique mexicain à travers les époques. L’étude des réceptions et des va-et-vient au sein de l’espace euro-américain est alors menée à travers l’analyse des diverses représentations autour du Mexique exprimées par les publics européens, ainsi que par les manières dont la société mexicaine resignifie les réactions européennes vis-à-vis de l’art mexicain afin de les adapter au contexte local. Ensuite, ce travail se concentre sur les adhésions et les rejets exprimés au Mexique par rapport à ce portrait de lo mexicano impulsé depuis l’État. La thèse démontre comment cette exposition est devenue par la suite un modèle pour la présentation de l’art mexicain à l’étranger, décliné à plusieurs reprises dans les décennies suivantes comme le fer de lance de la diplomatie culturelle mexicaine<br>Located in the intersection of the fields of History of Exhibitions and History of International Cultural Relations, this thesis studies the construction of a particular image of the Mexican nation abroad through the medium of art, and the ways in which this image was perceived by diverse audiences in different countries. The thesis analyzes the circulation, mediation and reception of Mexican art in a transnational context for the first major traveling exhibition of Mexican art in Europe.Between 1952 and 1953, the exhibition Art mexicain du précolombien à nos jours (Mexican art from pre-Columbian times to the present day) was successively presented in Paris, Stockholm, London and Mexico City. This cultural event draws upon a long prehistory that dates back to the 1920s. After several failed attempts, the idea of presenting an exhibition of Mexican art in Europe reemerges in the postwar period driven by the Mexican government and a constellation of European state and non-state actors, leading up to the opening of the exhibition in Paris on May 20, 1952.The thesis studies the stakes that various promoters had in the exhibition as well as the ways in which its curatorial discourse crystallized a nationalist rhetoric that stresses the continuity of the mexican artistic genius through the ages. It further investigates the different receptions and interactions within the Euro-American space by analyzing the various representations of Mexico articulated by the European publics; conversely, it examines the ways in which Mexican society resignifies the European reactions vis-à-vis Mexican art and adapts them to the local context. Moreover, this work scrutinizes the approvals and rejections expressed by the Mexican public with regard to the particular image of lo mexicano promoted by the state. The thesis demonstrates how this exhibition became a model for the display of Mexican art abroad, reappearing several times in various declensions over the following decades as a trademark of Mexican cultural diplomacy
APA, Harvard, Vancouver, ISO, and other styles

Books on the topic "London International Exhibition"

1

1820-1900, Csanak József, ed. Egy debreceni kereskedő Nyugat-Európában: Csanak József úti levelei 1862-ből. Magyar Tudományos Akadémia Könyvtára, 1987.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

(1862), London International Exhibition, ed. A Catalogue of the products of Canada East at the International Exhibition, 1862. s.n., 1985.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Miles, Henry H. Canada East at the International Exhibition: Catalogue of products from Canada East, medals and "honorable mentions" awarded to Canada, and the [d]eclaration of prizes to the colonial exhibitors, July ll, 1862 ; to which is added [a] succinct account of the Eastern Townships of Lower Canada. s.n., 1985.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Miles, Henry H. Canada East at the International Exhibition: Catalogue of products from Canada East, medals and honorabe mentions awarded to Canada, and the [d]eclaration of prizes to the colonial exhibitors, July 11, 1862 : to which is added [a] succinct account of the Eastern Townships of Lower Canada. s.n., 1985.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Ltd, Brintex, Institute of Materials, Minerals, and Mining., and British Tunnelling Society, eds. Underground construction 2003: Exhibition and conference, 24-25 September 2003, ExCel, London Docklands, UK ; papers presented at the: international conference & exhibition incorporating the International Tunnelling Exhibition, Wednesday 24th-Thursday 25th September 2003 ExCel, London Docklands, UK. Brintex on behalf of The Institute of Mining & Metallurgy ... [et al.], 2003.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

IMBEX. IMBEX '86: International men's and boys' wear exhibition : Olympia, London 23-26 February 1986. Mens Wear, 1986.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

IMBEX. IMBEX '85: International men's and boys' wear exhibition : Olympia, London 10-13 February 1985. Mens Wear, 1985.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

IMBEX. IMBEX '90: [international men's and boys' wear exhibition] : Olympia, London 18-21 February 1990. Mens Wear, 1990.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

International Food & Drink Exhibition (10th 1997 London, England). The 10th International Food & Drink Exhibition, 9-13 February 1997, London Earls Court: Incorporating the International Catering Show : catalogue. Reed Business Information, 1997.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Ltd, Interbuild Exhibitions. IFE 85: The 4th International Food & Drink Exhibition 25 February - 1 March 1985, London Olympia. Interbuild Exhibitions, 1985.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "London International Exhibition"

1

Timonina, Alexandra. "Comparing the Cologne Sonderbund of 1912 and the Second Post-Impressionist Exhibition in London." In Taking and Denying Challenging Canons in Arts and Philosophy. Fondazione Università Ca’ Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-462-2/013.

Full text
Abstract:
The article examines the agendas of the International Art Exhibition of the West German Sonderbund held in Cologne in 1912 and the Second Post-Impressionist Exhibition organised in London the same year, by contrasting their historical contexts and comparing their theoretical backgrounds. While the shows varied slightly in approach, both sought to give a systematic overview of the latest trends in art, which was then marketed mainly by private dealers. They addressed similar issues, such as defining the inherited tradition and topical dilemmas about the autonomy of painting and its decorative potential. The paper will discuss the emphasis on the progressive timeline and international outlook on modern art they formulated. It will also revisit the role of these exhibitions in light of the currently expanding discussion of the mechanisms that shaped the canon of European modernism.
APA, Harvard, Vancouver, ISO, and other styles
2

Kostof, Spiro, Greg Castillo, and Richard Tobias. "The Trials of Modernism." In The History of Architecture: Settings and Rituals. Oxford University PressNew York, NY, 1995. http://dx.doi.org/10.1093/oso/9780195083781.003.0029.

Full text
Abstract:
Abstract The occasion was to be the 400th anniversary of Columbus' discovery of America. A commemorative fair had been in the planning for some time. After much wrangling among would-be host cities, the Congress had voted in favor of Chicago, and locally the undeveloped marshes of Jackson Park on the South Side had been settled on as the fair site. Daniel Burnham was appointed director of the project. This was to be the 15th, and largest, of those popular international exhibitions that started back in 1851 with the Great Exhibition of London. Chicago was determined to rise to the occasion.
APA, Harvard, Vancouver, ISO, and other styles
3

Berghaus, Günter. "Theatre Performances In Art Galleries." In Italian Futurist Theatre 1909-1944. Oxford University PressOxford, 1998. http://dx.doi.org/10.1093/oso/9780198158981.003.0009.

Full text
Abstract:
Abstract The expansion of the Futurist movement into the fine arts was first signalled to the general public through the publication of a number of manifestos: Manifesto of Futurist Painters (II February 19rn), Technical Manifesto of Futurist Painting (II April 19rn), Futurist Sculpture (II April 1912), and Painting of Sounds, Noise and Odours (II August 1913). The first examples of Futurist paintings and sculptures were presented in March/April 19rn in an exhibition of the Famiglia Artistica in Milan, followed by a number of mixed shows in Venice CTuly 19rn) and Milan CTuly 19rn, December 19rn, April 19II, December 19II). The participation of Futurist artists in these exhibitions was undoubtedly a significant achievement, but the real breakthrough of Futurist painting and sculpture on the international art scene only occurred in 1912/r3 with the opening of the touring exhibition of Futurist art works at the Galerie Bernheim Jeune in Paris (5 February 1912). The show was reviewed in many French, Italian, German, and English newspapers and attracted large audiences when it travelled to London (March 1912), Berlin (April 1912), Brussels CTune 1912), Amsterdam (September 1912), Chicago (March 1913), and Rotterdam (May 1913). Other important Futurist exhibitions were held in London (at the Marlborough Gallery in April 1913 and at the Dore Galleries in April 1914), in Paris (at the Galerie La Boetie in June/July 1913), and in Berlin (at the Stumz Gallery in November 1913). In 1913/r4 there were also several Futurist exhibitions in Rome, Florence, and Milan.
APA, Harvard, Vancouver, ISO, and other styles
4

Nichols, Kate, and Sarah Victoria Turner. "‘What is to become of the Crystal Palace?’ The Crystal Palace after 1851." In After 1851. Manchester University Press, 2017. http://dx.doi.org/10.7228/manchester/9780719096495.003.0001.

Full text
Abstract:
This introductory chapter explores and establishes the Sydenham Crystal Palace in relation to existing scholarship on the Great Exhibition of 1851. The Sydenham Palace combined education, entertainment and commerce, and spans both nineteenth and twentieth centuries. We resituate it as an important location within the London art world and establish the broader connections it had with rival ventures such as the South Kensington Museum and the numerous international exhibitions in the period. We set out the new possibilities for the analysis of both nineteenth- and twentieth-century visual and material cultures opened up by this unique venue, problematising the periodisation of art works and attitudes into discretely ‘Victorian’ and ‘Edwardian’ categories.
APA, Harvard, Vancouver, ISO, and other styles
5

Scaglia, Ilaria. "Images from the 1935–36 International Exhibition of Chinese Art in London." In Nation Branding in Modern History. Berghahn Books, 2018. http://dx.doi.org/10.2307/j.ctvw04dpw.19.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Scaglia, Ilaria. "II Images from the 1935–36 International Exhibition of Chinese Art in London." In Nation Branding in Modern History. Berghahn Books, 2022. http://dx.doi.org/10.1515/9781785339240-017.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Lewittes, Deborah. "Chapter Four." In Shaping the City to Come. Liverpool University Press, 2022. http://dx.doi.org/10.3828/liverpool/9781800856547.003.0006.

Full text
Abstract:
This chapter examines the “Live Architecture” Exhibition, also known as the Lansbury Estate, of the 1951 Festival of Britain. Envisioned as part of a utopian scheme for the postwar reconstruction of London, the exhibition was an ongoing, collaborative project to rebuild an area of East London that had been razed during World War II. The chapter will reconceive the project in urban terms, questioning its previous interpretations and offering a new context for its significance that sees it as hopeful and idealistic. By the fifties, the modernist architecture culture that had been slow to settle in England was now firmly rooted, and “Live Architecture” offers a chance to fully evaluate international style modernism and town planning in the English context. The chapter will address the important urbanist Jaqueline Tyrwhitt’s work on the project, its connection to the CIAM 8 Congress and its publication The Heart of the City: Towards the Humanisation of Urban Life, and Sigfried Gideon’s conception of a New Monumentality for postwar architectural thinking.
APA, Harvard, Vancouver, ISO, and other styles
8

Larson, Frances. "The finest historical medical museum in the world." In An Infinity of Things. Oxford University PressOxford, 2009. http://dx.doi.org/10.1093/oso/9780199554461.003.0010.

Full text
Abstract:
Abstract The Wellcome Historical Medical Exhibition—later Museum—opened in the summer of 1913. Wellcome, who had already postponed the opening for eight years, later said that he had not meant to open his Exhibition for a further ten years, but various ‘eminent medical men insisted’ that he make his collections ‘the centre’ of the historical section of the International Medical Congress that year. Wellcome’s claim that he had been persuaded to exhibit only by his peers was not entirely true: Thompson had suggested synchronizing the Exhibition with the Congress, and had been lobbying the organizers for their support since early 1910. Wellcome liked to think his collection had been propelled into the limelight, against his better instincts, by the medical establishment, because it was the medical establishment that he wanted to impress with his efforts as a collector. The International Medical Congress was held every four years and had not visited London since 1881. In 1913 it attracted around 5,000 delegates from twenty-eight countries, ‘the most remarkable gathering of the world’s doctors that has ever assembled’.
APA, Harvard, Vancouver, ISO, and other styles
9

Moore, Daniel. "‘A transformed world’: Herbert Read, British Surrealism and the institutionalisation of modernism." In Insane Acquaintances. British Academy, 2020. http://dx.doi.org/10.5871/bacad/9780197266755.003.0005.

Full text
Abstract:
This chapter focuses on the discourses that surrounded the 1936 International Surrealist exhibition in London and the development of a distinctly British Surrealist movement in the years leading up to the Second World War. Using the debates in the periodical press about the movement – and how it might represent a particularly English or British avant garde – this chapter articulates the connection between the movement’s leaders in Britain and the rise of institutional structures to encourage avant garde work in Britain. In particular, it sees Herbert Read as one of the key mediators of modernism in Britain, and ultimately the key driver for the institutionalisation of modernism in Britain in the years around the Second World War.
APA, Harvard, Vancouver, ISO, and other styles
10

King, James. "‘Let’s Do Something’ (1935–1936)." In Roland Penrose. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474414500.003.0006.

Full text
Abstract:
This chapter details events in Roland Penrose's life from 1935 to 1936. In Paris, in June 1935, Roland and Paul Éluard chanced upon precocious, intense nineteen-year-old David Gascoyne, who had recently completed his Short Survey of Surrealism. Éluard introduced the two Englishmen, who ‘got talking’ about the fact that in London, little is known about the excitement going on in Paris [in contemporary art, especially surrealism]. They then decided to organise the International Surrealist Exhibition, which marked a decisive turn in Roland's life, in that he began to allow his role as an apostle of modernism to overshadow his career as an artist. For the remainder of his life, these two sides would struggle to co-exist.
APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "London International Exhibition"

1

Gemme, C., K. Hencken, I. Rosevear, and A. Pallett. "PARTIAL DISCHRGE ALERT SYSTEM AT LONDON UNDERGROUND." In CIRED 2021 - The 26th International Conference and Exhibition on Electricity Distribution. Institution of Engineering and Technology, 2021. http://dx.doi.org/10.1049/icp.2021.1647.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Acha, S., K. H. Van Dam, and N. Shah. "Spatial and temporal electric vehicle demand forecasting in central London." In 22nd International Conference and Exhibition on Electricity Distribution (CIRED 2013). Institution of Engineering and Technology, 2013. http://dx.doi.org/10.1049/cp.2013.1002.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Webb, Ralph L., and Jin Wook Paek. "Entrance and Exit Losses for Developing Flow in Plain Fin Heat Sinks." In ASME 2003 International Electronic Packaging Technical Conference and Exhibition. ASMEDC, 2003. http://dx.doi.org/10.1115/ipack2003-35354.

Full text
Abstract:
Prediction of pressure drop for duct flow through heat sinks involves calculation of inlet and exit losses. These predictions are typically done using Kc and Ke for “parallel plate channels” from the Kays and London book, Compact Heat Exchangers. However, these equations assume fully developed flow at the exit and thus include the effect of full velocity profile development. Electronic heat sinks operate in the “developing flow” region. So, use of the published Kc and Ke from the Kays and London book will result in over-estimate of the actual Kc and Ke values. The authors have performed analysis that allows accurate calculation of Kc and Ke values with parallel plate channels for operation in the “developing flow” region. The results are presented in graphical form as a function of contraction ratio and x+ (= x/DhRe). These results will allow accurate estimate of Kc and Ke values for developing flow. Entrance and exit losses can account for as much as 30% of the total pressure drop in electronic heat sinks having short flow lengths. However, the error associated with evaluation of Kc and Ke based on fully developed flow for parallel plates is small.
APA, Harvard, Vancouver, ISO, and other styles
4

Walton, C. M. "Detecting and locating MV failure before it occurs. Experience with live line partial discharge detection on underground paper insulated 11 kV cables in London." In 16th International Conference and Exhibition on Electricity Distribution (CIRED 2001). IEE, 2001. http://dx.doi.org/10.1049/cp:20010712.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Farrier, L. "Investigating the faulted performance of warship power systems with integrated energy storage." In 14th International Naval Engineering Conference and Exhibition. IMarEST, 2018. http://dx.doi.org/10.24868/issn.2515-818x.2018.031.

Full text
Abstract:
The need to integrate energy storage systems (ESS) with warship power systems to meet future dynamic loads such as high power electric weapons is apparent. This opens up challenges with design integration of ESS with power systems and operational aspects such as steady-state, transient and faulted performance. This paper describes the integration of ESS with a candidate power system as a case study as part of an ongoing timedomain simulation investigation at University College London. The paper describes the models and power management structure of the simulation testbed, that comprises battery based ESS and diesel generators in a hybrid electric power and propulsion system. The results of two scenarios are presented, the first verifies power sharing between a diesel generator and ESS during load levelling under single generator operation, the second illustrates the ability of the ESS to provide ride through power during a generator fault on the main distribution bus. The conclusions suggest that under voltage in the candidate system outside of acceptable limits occurs during fault ride through when in single generator operation.
APA, Harvard, Vancouver, ISO, and other styles
6

Silva, Ana Catarina Koka de Souza, Cibele Bugno Zamboni, and Dalton Giovanni Nogueira da Silva. "X-ray investigation of graphic art." In III SEVEN INTERNATIONAL MULTIDISCIPLINARY CONGRESS. Seven Congress, 2023. http://dx.doi.org/10.56238/seveniiimulti2023-195.

Full text
Abstract:
X-rays produced by electron ionization provide an analytical tool that can assist investigations in the field of Artistic and Cultural Heritage. In this study, the technique of Energy Dispersive X-ray Fluorescence (EDXF) was employed to investigate collections of postcards from the 1960s produced in Brazil, London and Uruguay. The collections belong to private collections and were made available for analysis at the Radiation Spectroscopy and Spectrometry Laboratory of the Institute for Nuclear and Energy Research (IPEN). This technique is non-destructive and allows the identification of chemical elements present in the different chemical formulations used in the printing industries of each country in the process of preparing postcards. This information allows tracing their origin and identifying copies/fakes, which enables their cataloging and registration for exhibition, as well as providing subsidies for conservators and restorers regarding the preservation and storage of these artistic materials.
APA, Harvard, Vancouver, ISO, and other styles
7

Cmeciu, Doina, and Camelia Cmeciu. "VIRTUAL MUSEUMS - NON-FORMAL MEANS OF TEACHING E-CIVILIZATION/CULTURE." In eLSE 2013. Carol I National Defence University Publishing House, 2013. http://dx.doi.org/10.12753/2066-026x-13-108.

Full text
Abstract:
Considered repositories of objects(Cuno 2009), museums have been analysed through the object-oriented policies they mainly focus on. Three main purposes are often mentioned: preservation, dissemination of knowledge and access to tradition. Beyond these informative and cultural-laden functions, museums have also been labeled as theatres of power, the emphasis lying on nation-oriented policies. According to Michael F. Brown (2009: 148), the outcome of this moral standing of the nation-state is a mobilizing public sentiment in favour of the state power. We consider that the constant flow of national and international exhibitions or events that could be hosted in museums has a twofold consequence: on the one hand, a cultural dynamics due to the permanent contact with unknown objects, and on the other hand, some visibility strategies in order to attract visitors. This latter effect actually embodies a shift within the perception of museums from entities of knowledge towards leisure environments. Within this context where the concept of edutainment(Eschach 2007) seems to prevail in the non-formal way of acquiring new knowledge, contemporary virtual museums display visual information without regard to geographic location (Dahmen, Sarraf, 2009). They play ?a central role in making culture accessible to the mass audience(Carrazzino, Bergamasco 2010) by using new technologies and novel interaction paradigms. Our study will aim at analyzing the way in which civilization was e-framed in the virtual project ?A History of the World in 100 Objects, run by BBC Radio 4 and the British Museum in 2010. The British Museum won the 2011 Art Fund Prize for this innovative platform whose main content was created by the contributors (the museums and the members of the public). The chairman of the panel of judges, Michael Portillo, noted that the judges were impressed that the project used digital media in ground-breaking and novel ways to interact with audiences. The two theoretical frameworks used in our analysis are framing theories and critical discourse analysis. ?Schemata of interpretation? (Goffman 1974), frames are used by individuals to make sense of information or an occurrence, providing principles for the organization of social reality? (Hertog &amp; McLeod 2001). Considered cultural structures with central ideas and more peripheral concepts and a set of relations that vary in strength and kind among them? (Hertog, McLeod 2001, p.141), frames rely on the selection of some aspects of a perceived reality which are made more salient in a communicating text or e-text. We will interpret this virtual museum as a hypertext which ?makes possible the assembly, retrieval, display and manipulation? (Kok 2004) of objects belonging to different cultures. The structural analysis of the virtual museum as a hypertext will focus on three orders of abstraction (Kok 2004): item, lexia, and cluster. Dividing civilization into 20 periods of time, from making us human (2,000,000 - 9000 BC) up to the world of our making (1914 - 2010 AD), the creators of the digital museum used 100 objects to make sense of the cultural realities which dominated our civilization. The History of the World in 100 Objects used images of these objects which can be considered ?as ideological and as power-laden as word (Jewitt 2008). Closely related to identities, ideologies embed those elements which provide a group legitimation, identification and cohesion. In our analysis of the 100 virtual objects framing e-civilization we will use the six categories which supply the structure of ideologies in the critical discourse analysis framework (van Dijk 2000: 69): membership, activities, goals, values/norms, position (group-relations), resources. The research questions will focus on the content of this digital museum: (1) the types of objects belonging to the 20 periods of e-civilization; (2) the salience of countries of origin for the 100 objects; (3) the salience of social practices framed in the non-formal teaching of e-civilization/culture; and on the visitors? response: (1) the types of attitudes expressed in the forum comments; (2) the types of messages visitors decoded from the analysis of the objects; (3) the (creative) value of such e-resources. References Brown, M.F. (2009). Exhibiting indigenous heritage in the age of cultural property. J.Cuno (Ed.). Whose culture? The promise of museums and the debate over antiquities (pp. 145-164), Princeton, Oxford: Princeton University Press. Carrazzino, M., Bergamasco, M. (2010). Beyond virtual museums: Experiencing immersive virtual reality in real museums. Journal of Cultural Heritage, 11, 452-458. Cuno, J. (2009) (Ed.). Whose culture? The promise of museums and the debate over antiquities (pp. 145-164), Princeton, Oxford: Princeton University Press. Dahmen, N. S., &amp; Sarraf, S. (2009, May 22). Edward Hopper goes to the net: Media aesthetics and visitor analytics of an online art museum exhibition. Visual Communication Studies, Annual Conference of the International Communication Association, Chicago, IL. Eshach, H. (2007). Bridging in-school and out-of-school learning: formal, non-formal, and informal education . Journal of Science Education and Technology, 16 (2), 171-190. Goffman, E. (1974). Frame analysis: An essay on the organization of experience. Cambridge, MA: Harvard University Press. Hertog, J.K., &amp; McLeod, D. M. (2001). A multiperspectival approach to framing analysis: A field guide. In S.D. Reese, O.H. Gandy, &amp; A.E. Grant (Eds.), Framing public life: Perspective on media and our understanding of the social world (pp. 139-162). Mahwah, NJ: Lawrence Erlbaum Associates. Jewitt, C. (2008). Multimodality and literacy in school classrooms. Review of Research in Education, 32 (1), 241-267. Kok, K.C.A. (2004). Multisemiotic mediation in hypetext. In Kay L. O?Halloren (Ed.), Multimodal discourse analysis. Systemic functional perspectives (pp. 131-159), London: Continuum. van Dijk, T. A. (2000). Ideology ? a multidisciplinary approach. London, Thousand Oaks, New Delhi: Sage.
APA, Harvard, Vancouver, ISO, and other styles
8

Hall, George, and James Marthinuss. "Air Cooled Compact Heat Exchanger Design for Avionics Thermal Management Using Published Test Data." In ASME 2003 International Electronic Packaging Technical Conference and Exhibition. ASMEDC, 2003. http://dx.doi.org/10.1115/ipack2003-35362.

Full text
Abstract:
This paper will discuss air-cooled compact heat exchanger design using published data. Kays &amp; London’s “Compact Heat Exchangers” [1] contains measured heat transfer and pressure drop data on a variety of circular and rectangular passages including circular tubes, tube banks, straight fins, louvered fins, strip or lanced offset fins, wavy fins and pin fins. While “Compact Heat Exchangers” is the benchmark for air cooled heat exchanger test data it makes no attempt to summarize the results or steer the thermal designer to an optimized design based on the different factors or combination of heat transfer, pressure drop, size, weight, or even cost. Using this reduced data and the analytical solutions provided highly efficient compact heat exchangers could be designed. This paper will guide a thermal engineer toward this optimized design without having to run trade studies on every possible heat exchanger design configuration. Typical applications of published fin data in the aerospace and military electronics include electronics cold plates, card rack walls and air-to-air heat exchangers using fan driven and ECS driven air. Airborne electronics often require extremely dense packaging techniques to fit all the required functions into the available volume. While leaving little room for cooling hardware this also drives power densities up to levels (20 W/sq-cm) that require highly efficient heat transfer techniques. Several design issues are discussed including pressure drop, heat transfer, compactness, axial conduction, flow distribution and passage irregularities (bosses). Comparisons between fin performance are made and conclusions are drawn about the applicability of each type of fin to avionics thermal management.
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'London International Exhibition' for particular source types:
Journal articles Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography