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| Chicago World's Fair, 1888 |
I have been watching videos about the World's Fairs from 1851 through the first couple decades of the 20th Century. Although such Fairs began in the 1790s in France, the videos, created by Americans, address some aspects of the World's Fairs held in the USA during the latter half of the 19th Century through the first two decades of the 20th. These fairs had large, opulent, antiquarian-looking buildings and landscaping occupying hundreds of acres, and supposedly all built within a couple years preceding the fairs, only to be demolished after the fair was over in about six months. The enigma is of how the buildings and landscaping had been constructed in such a short amount of time, with hand-tools, horse-carts, and primitive, infrequent railroads. The World's Fair in London in 1851 featured a massive building constructed of cast-iron frame and 60,000 panes of glass. (This "Crystal Palace" was demolished in 1936; in its stead is a residential area named after it). The buildings at the Chicago, Boston, St. Louis, and San Francisco fairs had supposedly been "intentionally temporary" with provisionally-functional materials. Some of the structures built "for" the 1904 St. Louis World's Fair are still standing, but they're definitely not made of flimsy materials that were slapped-up with the intention of tearing-down. The Art Museum in Forest Park looks as though it has been there for centuries.
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| San Francisco World's Fair, 1915 |
A strange aspect of the World's Fairs in some cities, especially in Chicago, Boston and San Fran, is that these buildings and landscaping were constructed during years soon after the conflagrations that had obliterated almost the entire cities. One would think that such resources would still be going toward re-building those cities, and certainly not toward constructing things with the intention of demolishing them after six months. SF's earthquake-caused fire was in 1906; its World's Fair was in 1915. (Most of the site of that Fair has remained public green space at the north edge of the shore on the Bay – Marina Green all the way over through Crissy Field, just to the east of where the Golden Gate Bridge was built, with the Palace of Fine Arts set back into the Marina neighborhood to the south.) The construction of the fairgrounds and buildings of these early World's Fairs supposedly involved many tens of thousands of workers. Like they weren't occupied with building new homes for people to live in, stores, municipal and office buildings, restaurants, and so forth? Where were the workers housed; how were they fed? How had they gotten the materials to the sites? How had the contractors engaged a small army of European classical artisans for the decorative construction? And, again, how were these massive undertakings accomplished within a couple of years? And with hand-tools?
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| St. Louis Art Museum in Forest Park |
The theory is that most of these buildings, and their grounds, had already been there, for centuries, and that the Fairs were part of a societal "reset" occurring incrementally over the course of about 70 years. One notable feature of the Fairs was the incredible lighting at night, utilizing pre-Edisonian electricity. That is to say, Tesla-esque free energy (the suppression of which Wikipedia calls a "conspiracy theory"). The spires of the buildings might have been energy-collecting antennae. Supposedly, this technology was shown-off at the Fairs, but gradually killed-off along with their demolition. If there had been centuries-old settlements with such opulent, majestic architecture, whose cities were they? The main theory about this attributes them to the Tartarian Empire (again, officially a "conspiracy theory") Looking at the functional mediocrity of what replaced the grandeur of this architecture, it makes no sense to effectively dumb an entire society down in that manner. But, if this were some kind of worldwide "reset," that would have been the idea. If it's not widely-known, it can surely be inferred that The Powers That Be, starting in the 1920s, plotted the deprecation of culture and art in the Western world.
Even more sinister is the idea that the insane asylums that were constructed from the 1800s onward through the early 20th Century – at first in the Gothic Revival style of architecture, then in the "enlightened" design of the Kirkbride Plan. It is suggested that these were largely for "disappearing" adults who'd objected to this "reset" and refused to forget how things had used to be. Children thereby orphaned, and also in the fires that had destroyed the cities, were loaded onto trains and relocated to other parts of the country. In this era, the criteria for commitment to an asylum were extremely loose and trifling, so it was easy to declare someone "unfit" to live in society.
The World's Fairs of the 1930s onward focused on modernism, with futuristic exhibitions and architecture – the "Futurama" exhibit at the 1939 World's Fair, especially. The 1964 NYC World's Fair was characterized by stark, brutalist structures, focus on commercial products, transportation, space-age technology, and Disney's "It's a Small World" exhibit. Looking at the shifts in the character and focus of the latterday World's Fairs, and especially in comparison to the old ones, there is a strong impression of some "reset" having occurred, with ongoing maintenance thereof over the course of the 20th Century. The later Fairs were constructed within the scale and means characteristic of their times, but the scale and the logistics of the earlier Fairs' construction boggle the mind.
These ideas and theories that I've described I consider "pending substantiation," but my personal theory is that the facilities of the World's Fairs of the era in question had been constructed with far-advanced technology in a parallel dimension and then materialized in this one by shuttling them over through an immense space/time portal.