November 15: Mapping Sensation + Affect | Lab #5

Kate McLean, Smellmap: Amsterdam

Map Critiques: Taeyeon, Julia

Lab: Sensory Mapping – more info TBA

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SUPPLEMENTAL RESOURCES

Stuart C. Aitken & James Craine, “Affective Geovisualizations,” Directions Magazine (2006) [on film and video games as conduits for affect].

Isobel Anderson, “Soundmapping Beyond the Grid: Alternative Cartographies of Sound,” Journal of Sonic Studies 11 (August 2015).

William J. Broad, “A Rising Tide of Noise Is Now Easy to See,” New York Times (December 10, 2012) + National Oceanic and Atmospheric Administration’s Cetacean & Sound Mapping.

Sébastien Caquard & D.R. Fraser Taylor, “What Is Cinematic Cartography?” The Cartographic Journal 46:1 (2009): 5-8.

Tom Conley, Cartographic Cinema (Minneapolis: University of Minnesota Press, 2007).

Catherine D’Ignazio and Lauren F. Klein, “Feminist Data Visualization,” IEEE Vis (2016).

Jonathan Flatley, “Affective Mapping” In Affective Mapping: Melancholia and the Politics of Modernism (Cambridge, MA: Harvard University Press, 2008): 76-84.

Victoria Henshaw, Urban Smellscapes: Understanding and Designing City Smell Environments (New York: Routledge, 2014).

Shannon Mattern, “Infrastructural Tourism,” Places (July 2013).

Kate McLean, “Emotion, Location and the Senses: A Virtual Dérive Smell Map of Paris,” Out of Control, Proceedings of the International Design and Emotion Conference, London, 2012.

OWjL Summer Program, “Sensory Mapping,” Mapping Weird Stuff (2009).

Eric Rodenbeck, “Introducing the Atlas of Emotions, Our New Project with the Dalai Lama and Paul & Eve Ekman,” Medium (April 26, 2016) + Nicolette Hayes’ post  + Paul Ekman’s Atlas of Emotions

The Trouble With Sound Maps,” London Sound Survey (May 25, 2015).

Jacqueline Waldock, “Soundmapping: Critiques and Reflections on This New Publicly Engaging Medium,” Journal of Sonic Studies 1:1 (October 2011).

WOMEN IN CARTOGRAPHY:

Laura Bliss, “The Hidden Histories of Maps Made by Women: Early North America,” The Atlantic City Lab (March 21, 2016) [multi-part series].

Christine E. Dando, Women and Cartography in the Progressive Era (Routledge, 2018).

Judith Tyner, “Mapping Women: Scholarship on Women in the History of Cartography,” Terrae Incognitae 48:1 (April 2016): 7-14.

7 Replies

  • John Soane’s house is not only a defiance of typology but the convergence of different objects that transport us to imagined geographies. The objects, by being conspicuously out of context or incomplete —as the capitals on the façade — emphasize their singularity, and remind us of processes of appropriation and creation.

    As these “foreign” pieces disrupt the expected style of what otherwise would be a typical XIX century English house, we realize that architecture and design are processes permeated by a constant flow of decontextualized objects and ideas.

    The curation of the objects at the house shows a historical and geographical narrative that create a map of itself, a map of the flows. The purpose of these object-souvenirs was to re-enact the experience of buildings and places visited during Grand Tours. The partial recreation of geographies inside the house, blend to create new spaces and emotions. An emotional process that involving the spatial and material that the author Giuliana Bruno calls “architectural memory system”.

    The implied movement and flows in architecture and landscaping can be read as maps.

    Pictures of the house: https://www.soane.org/

    • Thanks, Claudio! This idea of cartographic museology harkens back to our discussion from last week regarding the spatial rhetorics implied in exhibition design. The Soane museum is a great example!

  • Atlas of Emotion

    In Giuliana Bruno’s essay, “Atlas of Emotions” she writes “geography is a terrain of vessels through space”. She also writes about Isabella d’Este of Mantua creating her own “studiolo” a room where she could have her own geographic room. I have always been interested in countries people have traveled to.

    What if we were to create a room like the “studiolo” in our households today? How might that look? It would be an interesting topic of conversation if every individual who has the opportunity to visit your home was able to have visual representation of where the homeowner came from, where they have traveled and where they hope to go in the future.

    Having a map of ones family history that shows where their family originated provides a global perspective of how generations have traveled and how far they have come. A personal map that shows what countries an individual has traveled allows the person to recall memories from their travels that they can reflect on every time they look at the map.

    Today the United States is divided regarding immigration some people want specific immigrants to be removed from our country while others disagree. What if there was a mandate that every household have a map of their history? I believe every individual would have a greater appreciation of their family history and recognize the error in wanting to refuse or remove immigrants from our country. Having a map of our own would be a constant reminder that we are a nation of immigrants and hopefully that would change the rhetoric.

  • In Guiliana Buno’s Atlas of Emotion, she shares a method of map making that plays with the imaginative and real to counteract the more hegemonic aspects of cartography. She highlights mapmakers who take spheres of emotion and combine them with the traditional visual language of geography to access a more complex notion of engagement of space. I was left wondering about the language of emotion itself. What does mapmaking of the language of emotion look like removed from an application to more standardized notions of geography? Is it still legible? Emotions aren’t just space or place based. They are fluid with time and often overlap with one another. They can last for decades, or disappear, or appear momentarily. Can poetry be platform through which a map of a emotions can be produced?

    In relation to biosensing, these questions hold a particular resonance. Biosensing reads emotional data that can be interpreted from bio-chemical cues measured from the body. In relation to space, we can infer certain things about our responses to experiences. But this is similar to the ways in which we might read poetry or prose. We are restricted through language just as we are the limits of our scientific approaches. When reaching toward a mapping of the more ephemeral qualities of life our ability to read plays a major role.

  • Mapping Towards a Good City Life:

    When reviewing this week’s readings, this particular one stood out to me the most. The title alone had me curious and I figured it could inform my current practice as an urban design student. When I think about “A Good City Life” I immediately think about an emotional attachment to my surroundings. If I were to partake in the exercise of mapping my surroundings in 90 minutes I would spend the most amount of time detailing the parts that triggered happiness and positive thoughts. I would leave parts that had negative connotations less decorated. I viewed this as an invisible layer of emotion that would inform the maps and allow the viewer to read into an experience a little more.

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