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.
Map of Trottoir Roulant
12019-11-18T15:49:56-05:00Kate McDonald306bb1134bc892ab2ada669bed7aecb100ef7d5f351Path of Moving Walkway, Paris Expoplain2019-11-18T15:49:56-05:00Kate McDonald306bb1134bc892ab2ada669bed7aecb100ef7d5f
This page is referenced by:
12019-11-18T15:49:56-05:00Engineering Abroad: the Trottoir Roulant in Western Media12The Moving Walkway in the French and English Pressplain48682020-03-25T14:46:14-04:00See This image is most likely an imagination of the trottoir roulant, or plateform mobile, a moving walkway that circled the exposition grounds. The verbal description – the cost of riding, and the height of the deck - most closely matches descriptions of this device. Lacking other points of reference for a novel mode of mass transit, the illustrator apparently projected it onto the figure of the train.
Both in Paris, and the United States, the 1900 Exposition Universelle was a sensation long before it began. As early as 1897, extensive descriptions of the planned event, detailing its construction, funding, layout and other minutiae appeared in both popular and popular science Anglophone and Francophone media. During the Exposition itself, Erkki Huhtamo notes that Trottoir-inspired products included pamphlets, board games, postcards, comic strips, novels, and plays (Huhtamo, 2013). Elsewhere, the advertising in the frontispiece of a weekly pamphlet on the exposition that featured the plateform mobile offered Parisian women the opportunity to smell cosmopolitan – Parfumerie Rigaud offered consumers the chance to smell modern, to smell like an actress, to look youthful or to smell exotic with “Kananga Osaka” perfumes, soaps and facial powders.
To sum up, we have an image of the future, produced two years before the event it depicts; this image offers a vicarious experience of attending a world expo, arguably a vicarious experience of cosmopolitanism in itself; the image was part of an industry of depictions of the expo, which traded in other forms of sensual cosmopolitanism; and finally, the image is entirely inaccurate, but then again, it appears that even photographic evidence of the attraction was regularly staged or doctored. Indeed, one of the most iconic images of the moving walkway to come out of the exposition itself was a doctored image. The woman in this image falling over in a failed attempt to board or disembark from one of the moving platforms, has been essentially photoshopped in.