Expo 2015

Expo 2015 was a Universal Exposition hosted by Milan, Italy. The opening took place on May 1, 2015 at 10:00 CEST,and the Expo closed on October 31, 2015. It was the second time Milan hosted the exposition. The first was the Milan International of 1906. On November 23, 2010, the event was officially announced by the International Exhibitions Bureau (BIE). The BIE General Assembly in Paris decided in favour of the Milanese candidature on March 31, 2008. Expo 2015 was held under the theme Feeding the Planet, Energy for Life.

Theme

The theme chosen for the 2015 Milan Universal Exposition was Feeding the Planet, Energy for Life. It embraced technology, innovation, culture, traditions and creativity and how they relate to food and diet. Expo 2015 further developed themes introduced in earlier Expos (e.g., water at Expo 2008 in Zaragoza) in the light of new global scenarios and emerging issues, with a principal focus on the right to healthy, secure and sufficient food for all the world’s inhabitants.

Expo

Expo may refer to:

See also

Expo (album)

Expo is the second album from the Robert Schneider solo project Marbles and is the follow-up to the 1997 release Pyramid Landing (And Other Favorites). Whereas Pyramid Landing was a showcase of experimental pop songs, Expo focuses more sharply on electronic pop music, similar to that of Gary Numan, one of Schneider's influences on the Expo. Other influences include Electric Light Orchestra, Brian Eno, Phoenix and The Cars. The liner notes for the album state a dedication to "Marci and Max". The album was released in 2005.

Track listing

All tracks written by Robert Schneider.

Bonus material

On the CD release, there are six bonus mp3s that can be accessed by a computer. They include:

Expo (Stockhausen)

Expo, for three performers with shortwave receivers and a sound projectionist, is a composition by Karlheinz Stockhausen, written in 1969–70. It is Number 31 in the catalogue of the composer's works.

Conception

Expo is the penultimate in a series of works dating from the late 1960s which Stockhausen designated as "process" compositions. These works in effect separate the "form" from the "content" by presenting the performers with a series of transformation signs which are to be applied to material that may vary considerably from one performance to the next. In Expo and three companion works (Kurzwellen for six performers, Spiral for a soloist, and Pole for two), this material is to be drawn spontaneously during the performance from short-wave radio broadcasts (Kohl 1981, 192–93). The processes, indicated primarily by plus, minus, and equal signs, constitute the composition and, despite the unpredictability of the materials, these processes can be heard from one performance to another as being "the same" (Kohl 2010, 137).