My map defines the process of determining where people are most happy on our campus. It also maps the personal, social, and intellectual fulfillment according to where people live based on the results of a survey I administered for my psychology class. My project changed quite a bit from my original plans as troubleshooting occurred. One major setback was my inability to draw architecturally accurate buildings, and I really wanted to give each structure the credit and intricacy it deserved. I didn’t anticipate this to be a problem, so I first intended my map to be very pictorial. So, an unforeseen discovery or solution was to use a similar method as my self-portrait. The concentric circles I used in my first piece did a really effective job of showing the magnitude of an idea or concept, which is really what I was looking to do here. So I implemented the same aesthetic, a mathematical and sterile visual approach to an invisible concept. I wanted to use a clean and almost cold visual representation to evoke the sterility and clinical feel of acquiring and analyzing data for a scientific purpose. I also had some trouble with deciding what exactly to include on the map. Our campus has a number of buildings and structures that are important to the landscape but did not appear in my data. I had to decide which truth I wanted to reveal: the architectural and visual accuracy or the truth of my analyzed data. This choice was difficult for me to make, so I used smaller filled-in circles to show the Mead Way houses as existing, but not important to my empirical data. I used a blue palette to evoke placid emotions and also watercolor for the road system on campus, to create the feeling of rivers flowing instead of pavement, a much happier and more peaceful material. The reading of Psychogeography really influenced this map because it was a somewhat visionary experience, though it was not in anyway political. I attempted to transform the current environment into something with a bright future, traversing the land with a purpose and awareness that seeks to contribute a message to the landscape. It helped me to see the campus in a whole new light, hear new sounds and read into the particulars what I see everyday.
My map defines the process of trying to calculate the happiness of Sarah Lawrence’s campus. I am in Adam Brown’s Psychological Science of Happiness class and for my conference project I administered a survey to attempt to map the happiness of students at this school. The survey drew results explaining the overall happiness, and personal, social, and intellectual fulfillments based on where people live. Because my data was limited by a small sample, Andrew’s Court and the Mead Way houses were not included. My sign system pinpoints the living spaces that were included by participants in my data, and the surface was made out of watercolor. It is the system of roads that makes up the geographical campus. The connection system is a visual representation of the data that came from the survey. It’s colors categorize social, personal, and intellectual fulfillments and the number of concenctric circles shows the degree of that category for each living space. I chose blues because of its placid tone. At first I was going to do a pictoral map so I photographed my sketchbook where I started to draw the buildings, but I decided the shapes were more evocative of the sterile atmosphere that is science and conducting experiments. By choosing to use photoshop instead, I think it gave the project a completely new aesthetic.
= I started with the three points that are geographically located: London, Buenos Aires, and New York. The placement is where these three cities actually fall on the map. I planned to use concentric circles to show the impact these cities have had on my personal development, the thicker lines showing a heavier influence in recent years. This would be my sign system. My surface consists of an abstract interpretation of Manhattan in 1998. This was a pivotal year in my family’s history. My connections are the darker purple lines that actually follow the tracks of London’s subway system. The lines are the Bakerloo line which is the track we would take home. I chose these colors because they remind me of my mother and her favorite scent (lavender). I chose grey because I wanted a subtle but powerful color to attract the eye but not distract from the map. Unfortunately, the website would not upload one of my photos of my sketchbook, but I had originally planned to use stripes to color my surface as opposed to solid color. I changed my mind because I wanted a color of significance. My map wasn’t really influenced by the readings and more by my family’s history and the significance of place in and presence in our family. I will also be adding hand drawn images and painting more of the blank space with water color.
This is a less-than-finished base for my hand drawn additions. My map consists of three major points which represent the three cities of my heritage: Buenos Aires, New York, and London. The concentric circles represent the influence these cities and cultures have had on my personal development and the background image is a New York subway map from 1998, the year my family moved to the United States. This year was pivotal in my upbringing and in my family’s history and is a very significant point for me, especially because I was so young and remember very little but the events that transpired have had a great effect on my life. I will be drawing representations of bodies of water that will flow between the three points, intertwining and separating them simultaneously, as well as adding points of places I have travelled that fit on this part of the world map. The most transformative of these added locations will have similar concentric circles with thinner paths to show the contrast in importance. I will also be adding texture and depth with hand drawn background pieces and surfaces. My final draft will contain much more detail and depth.