A Day of Expo 70

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Poster design by Yusaku Kamekura.

More expositiana. Expo 2025 opens in Osaka in April, 55 years after the last expo staged in the city. Looking at the Expo 2025 website I can’t see the event generating much interest 50 years from now the way that Expo 70 does today. Expo 70 is the only 20th-century exhibition with any substantial cult value, something I’d guess to be a combination of several factors. On the design and architecture fronts the exposition was especially notable, with a great logo, great posters, and pavilions that look like a future that never arrived. In the 21st century the Japanese dimension of Expo 70 adds to its attraction; among other things the event is the only exposition whose site gets trashed by battling kaiju monsters, as happens at the end of Gamera vs. Jiger.

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The Tower of the Sun from the Expo 70 Official Guide.

Then there’s the centrepiece of the event site, Taro Okamoto’s Tower of the Sun, which joins the Eiffel Tower, the Brussels Atomium and Seattle’s Space Needle in being an exposition remnant that future generations have decided to preserve. Okamoto’s Tower is the strangest of all the surviving exposition structures, the creation of a multi-talented artist, designer and jazz drummer (!) who exhibited with the Surrealists in Paris in the 1930s. Now that the Tower is now left standing alone in open parkland it seems more like the world’s largest Surrealist sculpture. In 2018 Kôsai Sekine released a feature-length documentary, Tower of the Sun, about the artist and the construction of his tower.

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A Day of Expo 70.

A Day of Expo 70 is a much shorter documentary made to promote New Zealand’s involvement with the exposition. This is one of the longer English-language films made while the expo was still in progress, and one of many films about the event at this dedicated YouTube channel. Most of the clips are in Japanese, like this three-hour TV special, but still worth seeing for the documentary detail. For French speakers there’s an hour-long documentary at the Radio Canada archives. And while I usually dislike the pointless upscaling of old film and video material this clip shows overhead views of the expo site from the monorail and the cable cars.

Previously on { feuilleton }
Impressions of Expo 67
Expositiana
The exposition moiré
Angkor in Paris, 1931
The world of the future
Space Needle USA
A Trip to the Moon, 1901
Le Panorama Exposition Universelle
Exposition cornucopia
The Evanescent City

Impressions of Expo 67

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I ought to have included this miniature in the collection of exposition films I posted a couple of years ago. Impressions of Expo 67 was made by William Brind for the National Film Board of Canada. It’s a lot shorter than Henry Charles Fleischer’s home-movie record of the Montreal exposition but has the edge over Fleischer’s shaky, hand-held shots by being very smartly shot and edited. Brind also avoids spoiling his film with over-eager narration, what you get is eight minutes of light-rail journeys, international visitors and speculative architecture, all of it scored by a groovy soundtrack.

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The architecture had a lot to recommend it at this expo: the inverted pyramid of the Canadian pavilion, Buckminster Fuller’s enormous geodesic dome (one of the few structures still standing today), the “Gyrotron” pyramid, and Frei Otto’s West German pavilion whose membranous roof looks forward to the stadium he designed for the 1972 Olympic Games in Munich. Wikimedia Commons has a detailed map of the entire site.

Previously on { feuilleton }
Expositiana
The exposition moiré
Angkor in Paris, 1931
The world of the future
Space Needle USA
A Trip to the Moon, 1901
Le Panorama Exposition Universelle
Exposition cornucopia
The Evanescent City

Kadath and Yog-Sothoth

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Last month I posted an updated version of the Yuggoth collage I created in 1994 for the Starry Wisdom story collection. I didn’t mention at the time that one purpose of the reworking was to freshen the piece for a more ambitious updating of my own Lovecraft book, The Haunter of the Dark, a volume which has now been through two different editions. I’m generally resistant to the temptation to tamper with old artwork, something which is always present when you’re using digital tools. I’d much rather create something new. In the case of The Haunter of the Dark, however, this has felt necessary when the plan for the new edition requires adding a quantity of my more recent Lovecraft-related pieces to the older art. The section of the book titled The Great Old Ones was a collaboration with Alan Moore in which deities and locations from the Cthulhu Mythos were mapped across the Sephiroth of the Kabbalistic Tree of Life. Most of the art for this section was done in 1999 when I’d only been using Photoshop for a couple of years. I was excited by the possibilities the software presented but some of the results look very typical of the period: lots of obvious filtering, and transparent layering of a kind I seldom do today. Since I finished reworking the Yuggoth collage (which happens to be a part of The Great Old Ones section) I’ve also reworked three more pieces: Nyarlathotep, Kadath and Yog-Sothoth. The latter two you see here, Nyarlathotep isn’t quite finished yet. My intention with the new versions has been to retain the idea, and in some cases the composition, of the original, while creating a new piece which avoids the shortcomings of the 1999 versions.

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Kadath, 2025.

Of the two, the original Kadath was a piece I was never happy with. I hadn’t thought very much about how to represent Kadath beyond having a cluster of buildings in a snowy setting. Lovecraft is evasive about the details but the place is essentially a fantastic palace (or maybe a city) in an icy wasteland. My original version collaged together bits of Indian, Thai and Cambodian architecture which created a definite “exotic” appearance but I was never happy about using identifiable temples in this way. The composition was also rather messy. The new piece also takes the collage route, only this time I’ve used architectural details from some of the pavilions built for the Paris Exposition Universelle of 1900. Several of the themed pavilions built for the exposition were fanciful and fantastic extrapolations of the Beaux-Arts style that don’t resemble anything built before or after. The buildings were also temporary constructions so they’re a lot less identifiable than buildings with a longer history.

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Yog-Sothoth, 2025.

As for Yog-Sothoth, this one follows the idea of the original but with better choice of elements and presentation. Once again, details are vague as to Yog-Sothoth’s appearance but I always come back to the description of an inter-dimensional mass of spheres or globes. The original illustration manifested these globes by swiping a variety of globular creatures from Ernst Haeckel’s Kunstformen der Natur, something that worked quite well but the composition could have been better. The new picture follows suit, only this time I’ve borrowed details from another Haeckel book, Die Radiolarien (Rhizopoda radiaria): Eine Monographie (1862), which is less well-known and with illustrations of many more globular or radial organisms than in the other volume.

For the remaining pieces I’m going to be drawing rather than collaging. The results will be posted here in due course.

Elsewhere on { feuilleton }
The Lovecraft archive

Weekend links 761

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• At Bandcamp: Marc Masters on The Curious Case of the Channeled New Age Tape; and Erick Bradshaw’s guide to Nurse With Wound.

• At Public Domain Review: Designing the Sublime – Boullée and Ledoux’s Architectural Revolution by Hugh Aldersey-Williams.

• The fifth installment of Smoky Man’s exploration of The Bumper Book of Magic has been posted (in Italian) at (quasi).

It does not follow that the scientific spirit of empirical inquiry runs against dreaming, and [André] Breton was wrong to think [Roger] Caillois’s investigative methods opposed wonder. Material mysticism led Caillois back to magical thinking, which he expanded further than the Surrealist interest in chance and coincidence as he probed for insights into the order of things. Caillois was equally, perhaps even more, fascinated with magic than the Surrealists, but he wanted to probe what might exist as phenomenally marvelous, beyond the subjective self—he was a scholar of the sacred, and from the episode of the jumping beans onwards, he looked for its character and its workings in actual phenomena. In this sense he was more of a believer—though not in a personal god or a religion. Where Breton exalted the perceiver, Caillois wanted to go beyond these anthropocentric limits.

Marina Warner on the imaginary logic of Roger Caillois

• Mixes of the week: DreamScenes – January 2025 at Ambientblog, and Unrush 093 at A Strangely Isolated Place.

• At Criterion.com: Reincarnations of a Rebel Muse – David Hudson on Delphine Seyrig.

• Old music renewed: Angherr Shisspa (Revisited) by Koenjihyakkei.

• At Dennis Cooper’s it’s Laura Dern’s Day.

Jussi Lehtisalo’s favourite music.

• Lynch music: The Beast (1956) by Milt Buckner | Honky Tonk (Part 1) (1958) by Bill Doggett | Something Wicked This Way Comes (1996) by Barry Adamson

Weekend links 759

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Chance and Order, Change 6 (Monastral Blue) (1972) by Kenneth Martin.

• At Public Domain Review: Some of the media which will be entering the public domain (in the USA) in 2025, including links to Standard Ebooks for the book titles.

• At Wormwoodiana: Mark Valentine’s regular report on the state of secondhand bookshops in Britain.

• At Colossal: Beams of light lance monumental architecture in Jun Ong’s astral installations.

• At Popular Mechanics: “A scientist proved paradox-free time travel is possible”.

• An interview with Alice Coltrane from 1981 for Piano Jazz Radio (NPR).

• Read 19 issues of Arthur magazine in PDF format. More coming soon!

• At Spoon & Tamago: Japanese Designer New Year’s cards of 2025.

• At the BFI: Pamela Hutchinson on 10 great films of 1925.

Astral Traveling (1973) by Lonnie Liston Smith & The Cosmic Echoes | Astral Altar (The Gateway Of Legba) (1994) by Dub Terror Exhaust | Astral Melancholy Suite (2022) by Ghost Power