Bodies and Structures 2.0: Deep-Mapping Modern East Asian HistoryMain MenuGet to Know the SiteGuided TourShow Me HowA click-by-click guide to using this siteModulesRead the seventeen spatial stories that make up Bodies and Structures 2.0Tag MapExplore conceptsComplete Grid VisualizationDiscover connectionsGeotagged MapFind materials by geographic locationLensesCreate your own visualizationsWhat We LearnedLearn how multivocal spatial history changed how we approach our researchAboutFind information about contributors and advisory board members, citing this site, image permissions and licensing, and site documentationTroubleshootingA guide to known issuesAcknowledgmentsThank youDavid Ambaras1337d6b66b25164b57abc529e56445d238145277Kate McDonald306bb1134bc892ab2ada669bed7aecb100ef7d5fThis project was made possible in part by a major grant from the National Endowment for the Humanities.
Ordos Barchan-type Sand Dunes (Opposite Bank of Baotou) (terrestrial perspective)
12019-11-18T17:18:31-05:00Kate McDonald306bb1134bc892ab2ada669bed7aecb100ef7d5f353"Orudosu no Barushan kei sakyū retsu (Hōtō taigan)" in Chisei kyōiku, Vol. 32, No. 2, May 1940.plain2021-06-19T09:32:43-04:0040.65797, 109.84031Mengjiang1937-1945"Orudosu no Barushan kei sakyū retsu (Hōtō taigan)," Chisei kyōiku 32, no. 2 (May 1940).1940-05Copyright undetermined (http://rightsstatements.org/vocab/UND/1.0/).Sakura ChristmasBaotou; Ordos; Yellow River.SMC-0048Kate McDonald306bb1134bc892ab2ada669bed7aecb100ef7d5f
Fleeting as it were, the aerial route across Inner Asia inspired visions of the continent from above. Touted as precise, revelatory, and efficient, aerial photographs seemed to grasp the lay of the land in an unprecedented immediacy.
The prevalence of aerial photography in the early twentieth century marked one phase within a longer history of combat and cinema technologies becoming increasingly intertwined. In what Paul Virilio calls “a logistics of military perception,” this mode of vision in the twentieth century led to “a dematerialization of reality [in which] a supply of images would become equivalent of an ammunitions supply” (Virilio 1989).
In producing distance between the viewer and the viewed, aerial photography contrasted sharply with, say, the familial intimacy fostered in picture albums, as Emily Chapman shows in her module.
How did a photograph taken from an airplane differ from one taken on foot or by railroad? Snapped in the Gobi Desert, the images to the right, from the popular magazine Geography Education (J. Chisei kyōiku), reveal the differences in perspective between the terrestrial and the aerial.
In this first image, the photographer stood among the sand dunes near the Inner Mongolian city of Baotou in northern Ordos, by the Yellow River.
In the second image, the photographer flew over Baotou at six hundred meters above ground (top) and the upper reaches of the Yellow River at eight hundred meters above ground (bottom). He also captured “a lamasery that was not even recorded on a map” in the middle of the Ordos steppe (center).
What is missing in the aerial photograph is the horizon. If the view of the horizon from a train corresponds to the panorama, as Wolfgang Schivelbusch writes, then the view from an airplane, in eliminating that horizon, might correspond to the map (Schivelbusch 1977).
Certainly, when flying over Inner Mongolia, pilots often conflated the aerial and cartographic perspective. As one wrote in 1937, “a line drawn on the map represented the route, with some letters written to indicate [the presence of] villages.” Peering out of the cockpit, though, he noted “a cast sea of millet grain where people never entered into the field of vision. As one would expect, the Gobi Desert looked exactly like what I had learned from a map” (Kawaida 1937).
While Japanese pilots may have presumed that the aerial view equated the gridded map, to confuse these two perspectives, though, would prove costly, leading to “outrageous mistakes,” in the words of a technician at the Manchuria Aviation Company (Kataoka 1944). It would take a more intensive process to transform the former into the latter.