Naturally we must still ask whether Habitat was so impressive because, with its diverting forms, it was so different from everything else surrounding it. Perhaps an area composed only of such Habitats would result in a monotonous and regimented landscape. But who knows? An exposition does not give final answers; it suggests experimental directions. Habitat performed this task, justifying (since it was charged with stimuli) the many useless forms which surrounded it. A Perplexing Conclusion Even if an exposition could be a perfect teaching device, as we have suggested, is it worth the expense and effort? To organize an exposition means to organize a teaching machine dedicated to all the peoples of the world.
But, as we know very well, the visitors to Expo (with the possible exception of the Canadians) were well-to-do people, and these people generally can obtain ideas from innumerable cultural sources. They are the ones who least need these universal teaching devices. The world is able to produce splendid expositions but cannot allow all its children to move freely (politically and economically) to attend the Expo school. An exposition anywhere inevitably becomes a sort of mass communication for élites. In a pessimistic moment we might thus become convinced of the uselessness of expositions (though still recognizing their experimental and stimulating value). But we can draw other conclusions and make other hypotheses. For example: Isn’t it absurd that in our century we still build stationary expositions? Shouldn’t the designers of future expositions confront again the problem of Mohammed and the Mountain?
1967
About the Author
UMBERTO ECO is a professor of semiotics at the University of Bologna and the best-selling author of numerous novels and essays.
Footnotes
*** * Aldo Gargani, ed., Crisi della ragione (Turin: Einaudi, 1979).
*** * New York: Oxford University Press, 1976.
*** * History of Sexuality, I, pp. 95–96.