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Professor at the Polytechnic University of Catalonia Jordi Oliveras describes the centuries‐long history of 'beautifying the city'. He discusses how utopian ideas of urban form and placement or architectural design can quickly become dystopian by blindly following rules of classical symmetry or ideas of modernist fashion. [ABSTRACT FROM AUTHOR]

This article analyzes and compares the vision for the future of agriculture presented at two Depression-era world fairs—the 1933 Chicago World’s Fair and the 1940 American Negro Exposition—to highlight double standards in agricultural policy. An examination of correspondence, federal records, promotional materials, photographs, and news articles related to the two fairs reveals that the United States Department of Agriculture (USDA) envisioned a subordinate and ancillary role for African Americans in its vision of industrial agriculture. The exhibits at both fairs embodied the perspective that informed the USDA’s unequal approach to lending and administering federal farm programs, an approach that endures in similar ways today. [ABSTRACT FROM AUTHOR]

By turning to the case study of the 1893 pamphlet The Reason Why the Colored American is Not in the World's Columbian Exposition, we identify forensic rhetoric as a critical, yet under-theorized, tool of racial justice advocacy. Written by Ida B. Wells, Frederick Douglass, Irvine Garland Penn, and Ferdinand Lee Barnett, The Reason Why challenged systemic exclusion and racial oppression by utilizing a forensic rhetoric characterized by a forensic persona, a substantive focus on past guilt, and an end goal of justice. We conclude by considering the possibilities of forensic rhetorical form in contemporary racial justice advocacy. We argue that the genre of forensic rhetoric can work with public audiences, not by enabling immediate justice, but by imagining possibilities new for justice and political being. [ABSTRACT FROM AUTHOR]

In May 1893, the World's Congress of Representative Women ("WCRW") convened alongside the Chicago World's Fair to commemorate the progress of women since 1492. The speeches of six Black women were recorded in the congress proceedings: Hallie Q. Brown, Anna J. Cooper, Fanny J. Coppin, Sarah J.W. Early, Frances E. W. Harper, and Fannie B. Williams. Invited to report on Black women's progress for a primarily white audience, these women nonetheless used their speeches to advance their own goals by arguing that a proper understanding of Black women's progress requires accurate memories of emancipation and enslavement, as well as a recognition of Black women's agency. They developed these arguments using three rhetorical moves: first, they reframed the commemorative situation by establishing emancipation rather than Columbus's landing as the "zero point"; second, they claimed that Black women's progress in the present could only be understood in relation to accurate accounts of enslavement; third, they centered Black women as the agents of their own progress in the past, present, and future. Reading these speeches together reveals the resonance between nineteenth-century women and twentieth- and twenty-first century Black feminist thought, and it illuminates Black American critiques of white history. [ABSTRACT FROM AUTHOR]

The collection of Leonardo da Vinci historical models at the National Museum of Science and Technology in Milan is one of the largest and most important in the world. Created in 1952–53 to celebrate the fifth centenary of the birth of Leonardo and the opening of the Museum, the collection is made up of more than 140 models, interpreting the studies of Leonardo da Vinci and helping Museum visitors to understand and visualise his ideas. Before 1952, Leonardo models were already created and displayed in Florence (1929), Chicago (1933) and above all in the great Leonardo Exhibition held in Milan in 1939, which made a very important contribution to the knowledge of Leonardo as engineer to the public. It’s very important to clarify the role of these models, which are not original artefacts made by Leonardo himself nor replicas of no longer existing machines. They are really a very important interpretation device created by scientific museology between late 1920s and 1950s.

The collection of Leonardo da Vinci historical models at the National Museum of Science and Technology in Milan is one of the largest and most important in the world. Created in 1952-53 to celebrate the fifth centenary of the birth of Leonardo and the opening of the Museum, the collection is made up of more than 140 models, interpreting the studies of Leonardo da Vinci and helping Museum visitors to understand and visualise his ideas. Before 1952, Leonardo models were already created and displayed in Florence (1929), Chicago (1933) and above all in the great Leonardo Exhibition held in Milan in 1939, which made a very important contribution to the knowledge of Leonardo as engineer to the public. It's very important to clarify the role of these models, which are not original artefacts made by Leonardo himself nor replicas of no longer existing machines. They are really a very important interpretation device created by scientific museology between late 1920s and 1950s. [ABSTRACT FROM AUTHOR]