Research SpaceBook chapter

Sensory maps

McLean, K.

SensoryMapping

KateMcLean

katherine.mclean@network.rca.ac.uk

CanterburyChristChurchUniversity,Canterbury,UnitedKingdom

GlossaryCross-modal

perceptionthatinvolvesinteractionbetweentwoormoresensorymodalities

Smellscape

theolfactoryequivalentofalandscapeaccommodatingbothepisodic(foregroundedortimelimited)andinvoluntary(background)odors

Soundscape

anacousticenvironmentthatcanbeperceivedbyhuman,bothnaturalandartificial

SynaesthesiaSynesthesia

aperceptualphenomenonwherebystimulationofonesensorypathwayleadstoinvoluntarystimulationofasecondarypathway

In“DeAnima” (OntheSoul)Aristotle firstproposedthathumanshave fivesenses:vision, touch,smell,sound, taste.Humansenses,broadlydefinedas thephysiologicalcapacityoforganismsthatprovidesdata forperception,number

anywherebetween22and33toincludefiveactivesensesandvarioussub-categoriessuchasproprioception,kinaesthesiakinesthesia,andthermoception.Therearemanyinstancesofsensorycrossovers;synaesthesiasynesthesia isaneurological

condition inwhichstimulationofonesensorymodality causesunusualexperiences inanotherunstimulatedmodality,whereascross-modal studiesproposeand investigatedeliberateconnectionsbetweensensorystimuli.Wesenseaplaceby

combiningsensoryinformationacrossalloursenses,andtheparticularformofsensoryhierarchyismediatedbytheactivityinwhichweareengaged.ThisarticlecoversmapsbasedonAristotle'’soriginalfivesenses,openingopportunitiesforfuture

cartographiesofwider-rangingsensorystimulithroughnewoutputmediacombinations(Fig.1).

Figure1GuidePsychogéographiquedeOWUledbyJohnKrygier2009

Single-sensemapsfocusattentionontherepresentationofoneofsound,smell,taste,ortouch;however,representationofsensoryfindingsarenotalwaysinthemediumoforiginalencounterwitheachsensehavingitsowncartographic

imperativeandhistory.Currentlysoundandsmellhavemanymorepractitionersthandotouchandtaste.Themapsfeaturedarefewfromafieldofhundredsofpractitioners.Inadditiontomapsofoursensedexperienceoftheworld,sensorymaps

mayalsoconveydatasetssuchasgunshotsandairquality.

SmellmappingWhereEasternolfactorymappings took the formoforalhistories,oneof theearliestsurvivingcitedWestern(written)smellmapswasgenerated inFebruary1790whenParis'’schairofpublichygiene,Jean-NoelHallé,andhisassistant

undertookasmellwalkalongtheSeinefromPontNeuftothesewerofSaltpêtrièreandback.Notingwind,temperature,andriverheighttheresulting“map”containsnothingbutodors,detailingolfactoryinformationwithreferencetothequaysas

geographiclocations.Hallécitesodorsoftoxicandnoxiousindustrialpracticesaswellassimplyunpleasantemanationsfromthesewageintheriverhighlightingfundamentaldifferencesthatcanbegleanedfromolfactoryinformation.As19nineteenth

cCenturyEuropeancitiesbecamemorecrowded,sewagesystemsstruggledtocope,andsmellswerewidelybelievedtobethecarriersofdisease.Resultingolfactorycartographies,suchasHectorGavin's1848PestilentDiseaseMistofBethnalGreen,

epitomizetheairborneparanoiaofsmellsascarriersofdiseaseandpestilencedeployingavisualbrownstainindicatingstagnantairoverlayingsectionsofthestreetmapprintedunderneath.Theunderlyingmessagewas“enterthiszoneatyourown

risk.”In1870,theManhattanBoardofHealthofficialssniffedtheairtodeterminewherethemalodorsmalodoursofoffensivetrades(odor-producingindustriessuchasslaughterhouses,oilrefineries,gasworks,phosphateworksandmanureheaps)

couldbedetected.Such“miasmas”arediscussedbyFoucault'’slectureson“Security,Territory,andPopulation”andremainon-goingconcernsofcontemporaryurbandesignandplanning.Thevisualization,MapShowingLocationofOdorProducing

IndustriesofNewYorkandBrooklyn,usesasimplearrowtoindicatethespatialdisplacementofodorfromsourcetositeofdetectionwithdiagonalhatchingasavisualwarningastospatial“no-gozones.”Historicalsmellmapshavebeenreplotted

enablingadirectcomparisonwiththesmellsofthepastwithcurrentknowledge,layeringpastandpresentasseeninMatthewFrank'’srenderingofthe1910ManhattanMetropolitanSewerageCommissionreportwhoseuseofdigitalcartographic

pushpinshadowstoindicateundergroundsmellsdistancestheviewer,andposesquestionsastohowtoimaginethesmellsasexperienced(especiallywithbananaoil,whichwasusedasapaintthinnerintheday,butisnowanunfamiliarodor).

Theaboveexamplesareforerunnerstocurrenton-lineodormonitoringmapscreatedbyenvironmentalemissionsdetectionagencieswithinapositivistparadigmdesignedtoregulatesmellemissionandtorationalizerisk.Whilethereare

relativelyfewregularpractitionersofcontemporaryolfactorycartography,manytakeonthechallengeforone-offresearchprojectsresultinginawiderangeofaestheticdecisionsandartanddesignoutcomesaswellasodorandparticulatemodels

thatapproximatesmelldiffusion.Smellmapsoutputintheformofsniffablesmellsrequireaphysicalpresence;gallerieshavecommissionedworksthatillustrateandexploretheircitiesorneighborhoodsorenabledistantplacestobeexploredthrough

thenose.

Smell,OoutputasSsmellCitysmellscapemapsoutput throughsmell range fromthehighlyconceptual to theultra-realistic,offeringachance tosniffselectedandsummarizedaspectsof thecity inquestion.SisselTolaashascompleted52citysmellprojectssince1998, including

NoSoEaWeBerlin (2004) andTalkingNoses:MexicoCity(2001–2009). The focus is on “permanent” local smells, and thework is designed to challenge olfactory prejudices and intolerances of a cityies's’ inhabitants. Tolaas deploys electronic nose air-sampling

technologies,followedbychemicalanalysesandsyntheticreplicationofodormolecules.Thesmellsdisseminationmethodsvaryfrominstallationexhibitionsfeaturingbottledscentstoembeddedsculptures,bespokeperfumebottlestoscratch-n-sniffwalls.“Scratch-n-

sniff,“amethodofprintingwithsynthetically-producedodormoleculesgeneratestactilesurfacesthat“release”theodorwhenrubbed,wasalsoadoptedbyNicolaTwilleyfor“YouAreHere,”apsychogeographyinstallationatthePrattManhattanGalleryin2010.Scratch

‘NSniffNYC(Fig.2).TheexhibitedworksdemonstratedresearchintodominantodorperceptioninNYCneighborhoods.Asecond,scratch-n-sniffstickermapchallengedtheusual“what”ofsmell,drawinginsteadonresearchabout“how”NewYorkerssmell,drawingthe

highly-personal(genetic-andpreference-basedsmellperceptions)intothemap.

Figure2Scratch‘NSniffNYCbyNicolaTwilley.Photo©AndreasKeller2010

Communicatingolfactorygeographicalneednotbestatic,asBrianGoeltzenleuchter'’sSillageseriesofneighborhoodcitysmellscapes(Fig.3)demonstratesashumansweartheirneighborhood'’ssmellandmovearoundaroomemulatingthedispersingnature

ofsmellsthemselves.

Smell,OoutputinTtactileFformAmappingthatphysicalizesexperientialaspectsofsmellperceptiondrawsoncross-modaltheoriestoconnectsmellandtouch.InvestigationsbyagroupofFrenchdesignstudentsprofferedaseriesofoptionsforrenderingolfactoryexperienceastangible.

Mappingusingthematerialityoforiginalsmellsourcesrevealssignificantareasofsmellvoids,andalsotheplaceswheresmellsoverlap(Fig.4).

Datascaping,apracticeusedbyarchitectstorealizedata-drivenmodels,isabranchofdatavisualizationdepictinginvisiblequantitativedataasit intersectswithcontextualspatial informationcreatingtopologicalstructures.Examplesinthiscategory

indicatephenomenologicalrelationshipsbetweentheintensityandtheperceiverofthesmellsrevealingneighborhoodsofgreaterandlesserolfactorycomplexity.Andtheseemingweightlessnessofsmellisdepictedasadelicate,fragilemeshofsmellintersections(Fig.5)

.Assmellscaperenderingsbecomeincreasinglyabstract,3Dcreativemappingsareusedtoposequestionsastowhatitwouldbelikeifhumannosescouldseesmellsinteracting.

Figure3Sillage:LosAngeles(SantaMonicaMuseumofArtPatronDemographicProfile),olfactoryartworklaunchedattheSantaMonicaMuseumofArt,2014©BrianGoeltzenleuchter

Figure4MarseilleSmellmap4o'clocksegmentbyDSAA1lycéeJeanPerrinDesignStudiesstudents.PhotobyAlexandreLicata

(Fig.5)

(Fig.8)

Figure5MarseilleSmellmap6o'clocksegmentbyDSAA1lycéeJeanPerrinDesignStudiesstudents.PhotobyAlexandreLicata

Figure6WhiffofUncertainty©EstherWu2007

Smell,OoutputasdDigitalThedigitalmash-upwasacommonapproachintheearly2000s,howeverithaspoorlongevity;theJapaneseSmellClub(Nioibu),Gawker'’sNewYorksubwaysmellmap,AveryGilbert'’sSmellofDeadPeopleandMatthewFrank'’s1910NewYorkSewerMap

arenolongeravailableonlinealthoughtheDailyChicagoChocolateSmellMapretainsapresence,asdoestheOlfactoryFactory.Analternativedigitalenvironmenttoaddressandexplorethetemporal,ephemeralnatureofsmellanditsevanescent,volatilequalitiesis

mappingthroughanimationasexploredinKateMcLean'’sdoctoralresearch.

Smell,Ooutputas2DVvisualTraditionalprinted2Dmapsaretoolsforartistsanddesignerstoexploreaspectsofolfactoryperceptionusingdatacollectedbyanindividualorbymany.Fromagraphicdesignperspective,EstherWurecordedsmellsofbakingdonuts(Fig.6)over11 elevendays

ononespecificstreetcorner,factorsinchangingweatherinthequestforapatternofodordurationandlocation.

JennyMarketou'’sSmellItDoItYourselfSmellMap(Fig.7)encouragedvisitorstotheEstherKleingalleryinPhiladelphiatowalk,sniff,andreturntovisualizetheirfindings.Thistypeofmappingchallengescontemporaryodor-phobicperceptionsandthestigmas

Figure7SmellIt.ADoItYourselfSmellmapbyJennyMarketou2008.ImagecourtesyofMonellCenter

Figure8Smellmap:Amsterdam©KateMclean2014

ofdeliberatesniffinginpublic,withtheaimofchartingthesubjectiveimportanceofscentinurbanlandscapes.

Inadditiontolocalizedidentificationofodors,smellmapsalsoindicatetheirdimensionalityandcomplexity,alludingtothelivedexperienceofsniffingwithinasmellscape.Designedtogiveavisualformtoaninvisiblesensorylandscape,McLean'’ssmellmapsof

Edinburgh(2011),Newport(2012),Amsterdam(2013),Kyiv(2016)makeusofamodifiedconventionalcartographicsymbol(Fig.8)toindicatehowsmellsdisperseacrossacity.Contoursshowthesmells'’rangeandtheirmovementaspropelledthroughairbyprevailing

winds,delineatingairspace rather thananchoredground.Unlikestandard isopleths,whichcannotcross,smell-isoplethsoverlap, indicating the impossibilityofaccurately,objectivelymappingsmell.Analternativeapproach, that replacescontourswithdotsassmell

symbols,representssmellscapesinwhichhumidityhasagreaterinfluenceontheairbornesmellscapethandoesthewind.

Instrumentalizedwithinlandscapedesign,urbandesignandplanningandarchitecture;smellmappingenablesanalysisofhedonictoneofolfactoryexperienceforexampletheSmellMapofGowanus(Fig.9),andasatoolforthecomparativestudyofinter-modal

transitspaces.

Smellmappingisequallydeployedforeditorialcontentandasaresearchtool;JasonLogan'’sillustratedroutemapScentsandtheCity(Fig.10)extractsnotablesmellencountersfromaweekendwalkthroughthelengthofManhattanandNatalieBouchard'’stext

overlayontoaGoogleEarthbasemap(Fig.11)communicatesacollectiveolfactorymemoryaspartofastudyintothepowerofsmellstoshapespatiotemporalperceptionsoftheenvironment.

Figure9GowanusSmellMap©AnnieBarrettStudio2016

Figure10ScentsandtheCity©JasonLogan2009

Airquality,odormonitoring,andpollutionmappingmayalsobe regardedasa formofsmellmapping.Urbanobservatoriescollectair samplesusingelectronicnosesandsubsequentlyperformairqualityanalysisusingasensormatrix incombinationwith

meteorologicaldata.Therearetwomajorusesofsuchtechnologyandsubsequentmappings;odorplumemappingtoinformcontainmentofindustrialproductionand/orwastemanagement,andparticulatemattermonitoringatlocallevelstoexaminecleanairandmitigate

localexposureforimprovedpublichealth.

Smell,MmappedTthroughWwalkingHeresmellmappingisregardedasanactivepracticeintheformofawalktoexposeparticipantstoaperformativeandrelationalsenseofplacethrougholfaction.Usedacrossdisciplinesfromolfactoryart,urbandesignandcommunicationdesignpractitionersa

smellwalkmightinvolvesmelldetectionand/orsmellidentificationandmaybeconductedone-to-one,inpairs,oringroups.Blindfoldsareoccasionallyusedtodivertattentionawayfromtheinfluenceofsightonsmell(Fig.12).

Figure11Commentedsmellwalk©NatalieBouchard2011

TasteMapsuTastemapsaboundwithintourism;artistsandillustratorsareregularlycommissionedtocreatebespokeworksto lendgastronomicatmospherestocountries,cities,andneighborhoods.Avastrangeoffoodanddrinkmapsfoundon-line

depictingredients,finisheddishes,kitchenutensilsallintermingledwithlocallandmarkssetinaphysicallocation.Beverageindustriesalsomakeuseofthemaptodemonstratetheirterroirandexplainthenamesbywhichtheirproductsareknown.

Examplesof suchwork canbeeasily foundon-line throughartists, tourist boards, and specialist interest groups suchas thebeverage industries.For example,RosieMackean'’s photo foodmapsofGreece (Fig.13), Italy, andSpain highlight

locally-grownandsourcedfoodstuffsineachofthesecountries.

Incontrast,McLean'’stastemapofEdinburghrepresentsthefatintakeofanexaggeratedScottishdiet.The3Delevationmap(Fig.14)carvedfrombeefdrippingfatformsanelevationmaptoshowcumulativefatcaloriesingestedoveraday.

Architecturalfiguresreinforcethenotionofhowamountainoffatisclimbedbythebody,onadailybasis.Alsoservingasurbancommentary,mapsmadefromJell-Oalludetothepassingoftimeandthenatureofurbangrowth,ascreatedbyartistLiz

Hickock.

Figure12TheScentofAmsterdam(workshop)Workshop&WalkledbyKlaraRavat.PhotographbyChiaraBarraco,courtesyofMediamatic

Figure13FoodMap:Greece©RosieMackeanstylist/creator2017.Photography:GemmaBringloe

There are many edible maps available as commercial products, artworks, and as teaching resources; Hargreaves and Levin'’s playful series of countries depicted in a representative food take a design approach to the layout and

communicationofplace.Incontrasttosuchplayfulness,the“EdibleMap”projectseekstolocatelandinurbanneighborhoodswherefoodmightbegrown.Abespoke,data-drivenmethodologicalframeworkofwalkingandtalking,inconjunctionwitha

site-specificvisualizsationtool,createsfuturevisionforlocalizedurbanagriculture.

SoundmapsEvolutionoftheSoundmap

Themappingofsoundscapeswasfirstpracticedin1929byFinnishgeographer,Granö,whoqualitativelyrecordedtimeandfrequencyofnaturalandartificialsounds.Onceatoolforurbanists,thesoundmaphasdevelopedintoaninterdisciplinarynewmedia

practice.Contemporary,mainlydigital, soundmapscoverurbanand ruralenvironments,with themescoveringmemory,culturalandbiologicaldiversity,everydayenvironments,andmusicpreferences.Thespectrumof researchagendas includesandcombines the

creative,theecological,andthepolitical.Soundmappingissometimesreferredtoascartophony—ahybridofthecartographicandthesonic.

Sound,OoutputasVvisualIn1967MichaelSouthworth'’sMITMastersthesisentitledTheSonicEnvironmentofCities investigated theperceptual formof thesoundscape,visibleactivityandspatial form.Thestudyof twospecificBostonneighborhoods,BeaconHilland IndiaWharf,

resultediniconicandvisuallystunningcartographicblueprintsoftheexperiencedsoundscape.SoundTypesinclude“waterflowing”and“distantroar.”TemporalPatternsindicate“daytimeandnight-timeoccurrence”and“changeinsoundcontentonSundays.”

ThetheoreticalframeworkforsoundmappingoriginatesinacousticecologyandsoundscapesasR.MurraySchaferandotherscholarsoftheWorldSoundscapeProject(WSP),completedinitialfieldworkinVancouver.Schafer'’s IsobelMapofStanleyPark

(1974),quantitativelymeasuredsoundpressurelevelsalongthepark'’sfootpathsat100-yardintervals,andindicateshowsoundmightberepresentedusingthecartographicconventionoftheisoplethtojoinsimilardecibelpointstorevealthequietspacesawayfromroad

networks.TheWSPcontinuedtheirworkwithacomparativestudyofFiveVillageSoundscapes inEurope in1975 resulting inaseriesof individualvisualmapshighlightingaspectsof thesonic landscape.Thesemapsarepioneering in theirmixedmethodological

approachthatrecordedsonicpatternsofvillagelifeusingqualitativeinterviewswithlocalsincombinationwiththequantitativedataofsoundrecordings,isobelmaps,morphologycharts,andpitchrecordings.

Morerecently,SimonElvin'’sSilentLondon(2005)mapusedcitydataaboutLondon'’snoiselevelstorevealthesilentplacesshowinganalternativesideofthecitythroughavisualandtactileoutput.Acousticsensorsenablesounddatatobedetectedand

recordedasmappingfacilitatesdatacomparisonsovertime—examplesinthiscategoryincludetheDCgunshotmap.Analgorithmisusedtotriangulatenoises,andthenahumanisusedtoverifythesoundisindeedagunshot—usefulinformationforpoliceofficersatthe

sceneofreportedincidents.Mobileversionsofthistypeofacousticsensorareusedbythearmedforcestodeterminelocalgunfire.Soundsensorsarealsousedtomaplandscapesrangingfromtheseafloortointernalhumanorgans.

SoundOoutputasTtaste/vVisualThelexical-gustatorysynaestheteJamesWannertonusedthediagrammaticmappingtropeoftheundergroundsystemsubstitutingstationnameswiththetastesheexperienceswhenhehearsthemtofacilitatenon-synaesthetescomprehensionofhisworld

experience.Todatetwosuchmapsenableotherstogainaninsightintohowsomeoneelseperceivestheworld;TastesofLondon1964–2013andTorontoSubwaySynaesthesiaSynesthesiaMap.

Sound,OoutputassSound(Nnon-digital)SimonElvinsFMRadioMap(2006)plottedthelocationofFMcommercialandpirateradiostationswithinLondon.Powerlines,drawninpencilonthebackofthemap,conductedelectricityfromtheradiotothefrontofposter.Placingametalpushpinontoeach

stationallowedthelistenertohearasoundbroadcastlivefromthatparticularradiostation.

Figure14TasteMap:Edinburgh©KateMcLean2011

Sound,OoutputasdDigitalSoundcanbedigitallyrecordedwitheaseanddigitaltechnologieshaveenabledtheemergenceofarangeoflocativeon-linesoundmapsshiftssoundmappingfromstaticandtime-fixed2Dcartographicrepresentationtoincludespatial,temporal,acoustic,and

visual elements. Digital practices enable databases and archives of sounds to bemaintained and shared worldwide. In theUKUnited Kingdom, the British Library, contains 90,000 selected sound map recordings of music, spoken word, and human and natural

environments.Therearefourmaintypesofdigitalsoundmap:deferredandstatictelematicsoundmaps,deferredanddynamictelematicsoundmaps,staticsoundmapsinrealtime,dynamicsoundmapsinrealtime.(SeealsoquantitativeNoiseMapsforthecognitive

approach.)

Creativeonlinesoundmappingbothcombinesandrejectstherangeofsenses.ExperimentalformssuchasMiastofonremovesallvisualreferences,maporcontextual,butrequireslistenerstoactivatethesoundsthroughrepositioningacursoroverablack

screenthuscreatinganimpressionofbeingablindpersonnavigatingGdansk'’surbanlandscape.JenHeuson'’sSoundscapesoftheBlackHills(Fig.15)providesextracontextualizationofhistorical landmarklocationswithimageryandcommentary,addinglayersto

listenerexperience.Suchnarrativeenvironmentsproducemapsthatemphasizepersonalassociation,emotion,andmemory.

Whilewayfindingneedsof thevisually impairedareprimarilyaddressed throughhapticmaps,auditorycuescanprovidenavigationalandcomplementary information;Golledge'’s researchdeployedsoundasone feedbackmechanism fornon-visual route

guidanceandmorerecentlysetsofdetailedaudioinstructionshavebeendevelopedandtestedinLondonandSydneyundergroundtransportsystemsbyAbilityNetwiththeaimofcreatingastandardsetofinstructionsforappdevelopersandthosemanagingaccessibility

inpublicspaces.

Opensourcemappingsare popular devices enabling thematic approaches to collecting anddisseminating themed recorded sounds.Radicchi'’sdeferredand static telematicTenderSoundmapof Florence(Fig. 16) investigates possible relations between

Florentinesoundscapesandemotionaldimensions.Perceivedbythecity'’susers,localpopulationandtouristsplaceshumansatthecenteroftheworkasthemapisaqualitativetoolintendedtoexpandpracticesofdeeplistening.

Figure15SoundscapesoftheBlackHills©JenHeuson2009

Setuptoexploretheconnectionsbetweensoundsintheenvironmentandtheirgeographyfavouritesounds(Fig.17)wasdevelopedbyPeterCusakfromthelong-runningfavoritesoundproject,whichaimedtodiscover,andcelebrate,whatpeoplevalueabout

thesoundscapesofthecities,towns,andneighborhoodswheretheyliveandwork.

Soniccartographyplacesthecartographicatthecenter—addingtoamap'’scapacitytoenrichamulti-sensoryreadingofspace.Theacousticplatform,RadioAporee(Fig.18),startedin2006asaglobalsoundmapdedicatedtofieldrecording,phonography,and

theartof listening. Inconnectingsoundrecordings to theirplaceoforigin itcreatesapubliclyaccessibleandcollaborativesoniccartographyproject inwhicha feedofnewrecordings lendaccess into thesite.Thesesound recordingsmightbeghost trainsonan

abandonedbridgeoraBrazilianfootballgame,afoghorn,oraforest—anopportunitytoenterunknownworlds.

Figure16FirenzeSoundMap©AntonellaRadicchi

Figure17FavouriteSoundsbyPeterCusak.PeterCusack.Design:KirstenEdwards.Programming:NigelCurrie(NorthwindTrading)

Sound,asPpracticedorPperformedThesoundwalk,asdefinedbyWesterkamp(memberoftheWorldSoundscapesProject),focusesonlisteningtotheenvironmentandembracingeverysoundthatwehear.AndraMcCartneyprovidesanhistoricaloverviewofthepracticeandAntonellaRadicchi

haswrittenapubliclyavailablePocketGuidetoSoundwalkingwhich,similartopracticesofactivesniffingwhilesmellwalking,promotesactivelistening.

TactileMmappingTactilemapping is dominatedby haptic renderingsof the landscape for, andby, communities of visually- impaired users. ThePerkinsSchool of theBlind inBoston,MA,US,A is home to an archive of historical tactilemaps including

experimental,improvised,hand-maderaisedsurfacemaps,embossedmaps,andabespoke,13-ftdiameter,sphericaltactileglobe.Recentyearshaveseenconsiderabletechnologicalandmaterialinnovationsincludingvacuumforming,3Dprinters,

embossers,andswellpaper.Whileslightlytangentialtotheremitofsensorymapsasrepresentationsofphysicallysenseddata,thematerialityandimprovisationattheheartofmapsthataremadetobefeltasauser-centeredspecialistfieldare

importanttonote.

Micronesianstickchartsareinterpretednavigationalaidsinwhichthetactilepatternofthewavesisoutputinthesamemodalitythroughadifferentmaterial;madefromcoconutfiberandcowrieshells,theyaredesignedtorepresentwave

patternsandcurrentsfacilitatingnavigationacrossseaslackingverticallandmarks.Theshellsrepresentislandsoratolls,thestraightlinesrepresentconsistentandpredictablewavesandthecurvedlinesrepresentswells.Itisthoughtthatthesehighly

individualizedchartsmaynothavebeencarriedonvoyagebutrathermemorizedbeforesettingout.

Bronzecast3Dmapmodelsareincreasinglycommonincitiesandmajorparksworldwide.Theyfulfilladualroleasdimensionalcitysummariesforthesight-impairedandtouristattractionsforthesightedgivingarelationality,especiallyto

complexanddramaticdimensionallandscapessuchasEdinburghandTübingen.Thebronzereliefmapsarefrequentlyplacedinpublicspaceswheretheyaretouchedbypassers-by.

VisualMmappingSincemapsmostoftenrepresenttheseenworld,thissectionwillfocusonexamplesofwhenthevisualisreformattedintoalternativesensorymodalities.

Visual,OoutputasTtouchTheInuithavebeencarryingcarvedpiecesofdriftwoodthatactascoastlinemapsforoverthreehundredyears.Theyweremadetobefeltratherthanlookedat;thelandisabstractwiththefocusbeingontheviewofthefjords,islands,andglaciersthatformthe

shapeofacoastlinewhenseenfromanoceankayak.

Toaidnavigationforthevisually-impairedAnneGardinerfocussedonthedesignandproductionofvacuum-formedtactilemaps.Herscientificapproachsoughtasetofguidelinesthatrenderedthemapasanobjectthatthereaderwouldfindpleasanttotouch,

easytodistinguish,includedifferentiatedsymbolsandmaintainconsistency.Oneproject,acountrysidewalk,alsospecifiedwherethesequentialtrailmapsshouldbesituatedwithclearguidingstripstotaketheuserfromthesiteofthereliefmaptothestartofthemap'’s

depicted zone. In creating a commissioned project, in theSwissAlpAtlas for theBlind (Fig. 19) Anna Vetter encountered the issues of the sighted designing for the sight-impaired; her early attempts to create symbols for railway tracks looked great but were

Figure18AporeeGlobalSoundmap©UdoNoll2000–2018

indistinguishabletotheblindfromthesymbolsforroadsandboundaries.Symboldifferentiationrequiresscalechangesandbrailletextisaheavyuserofspace.Thefingersfeelincompletelydifferentwaystohowtheeyessee;throughtouchapictureisbuiltfromthe

detailsasmuchmoreofthetactilemapisretainedinmemory,whereasthroughsightanoverviewcanbegleanedpriortodrillingdownintothedetail.Understandinghownon-visualsensorymapsarereadisasimportantasthesensoryinformationtheycontain.

FutureDdevelopmentsFuturedevelopmentsinsensorymappingmightequallyrevolvearoundthecommunicationofmulti-sensorydatasets,explorationsdepictingsensoryvoids,andplace-specificmappinginvestigationsderivingfromalternatesensoryperception

suchasthermo-perceptionandproprioception.Ourcurrentinabilitytoreplicatesmellandtastedigitallyfordirectcommunicationissimilartosoundmappingpracticesofthe1970sandthereareanumberoftheoreticalpapersanddesignprojectsthat

speculateastohowthismightfunctionhenceforth;notablycybercartography,hapticsoundscapes,aspeculativeodorphone,andasmellcamera.

Asaperformative,relationalconstructthesensorymapisprocessual,placingthemapreaderatthecenter.Seekingvoidsbetweensensorystimuliisincreasinglyimportantwithinagendasofwell-beingandrelaxation.Ratherthanisolating

ourselvesfromsensoryoverloadswithgadgets,thesensorymapcanaidpeopletofindquiet,fragrant,soothingrestorativeenvironments.FromtheHushCityapp,anewopensourcesoundscapemapwillemergelocatingquietspotsincities,an

approachthatothersensorypractitionersmightseektoemulate.Manysensorymapsderivefromdatacapturedin-situ,howeverprojectssuchasTheGoodCityLifemightusemethodologiesderivingdatafromvisualsocialmediaplatforms,butin

realtime,tocreatealternativenavigationalroutemapsthroughcityspaces.Accessibility,andindependenceindecision-makingwillbeanareaoffutureresearchfocus.Withincreasedknowledgeastohowhumansexperience(andhowtheywantto

experience)thesensedenvironment,sothepossibilitiesforfuturesensorymapsandnavigationalsystemswilldevelop.

Beyondtheover-simplifiedconfinesofAristotle'’sfivesenses,sensorymappinghaspotentialtoinvestigateothersensoryresponses.Emotionalstatescanbemeasuredthroughgalvanicskinresponse(GSR)asfeaturedinChristianNold'’s

workonbio-mappinginwhichgeo-locatedmeasurementofemotionalarousal ismapped,analyzsed,andpresentedvisually. Itwouldbeexcitingtoexperiencemapsofkinaesthesiakinesthesia,ofnociceptionnocioception,ofchronoceptionthrougha

rangeofoutputforms,andworkhasbeenalreadybeenpublishedonamethodologicalapproachtothedetectionandrecordingofurbanspatialthermoception.Withanincreasinginterestinqualitativeperceptionasvaliddatasetsformappingthereis

acalltodevelopmorecriticalcartographicapproachesthataccentuatenon-normativeexperienceascommunicatedinthisnascentfield.

SeeAlsoCrossReferencesAffective Mapping,; Art and Cartography;, Cartographic Animation;, Critical Cartography;, Cyber Atlases;, Digital Storytelling;, Indigenous Mapping;, Mobile Mapping;, Information Graphics;, Performative and Embodied Mapping;,

Psychogeography.

FurtherReadingAndersonI.,Soundmappingbeyondthegrid:alternativecartographiesofsound,J.SonicStud.11,2016.

Figure19TactileMapofSwitzerland(LakesandRivers)©AnnaVetter2018

DroumevaM.,Soundmappingascriticalcartography:engagingpublicsinlisteningtotheenvironment,Commun.Public2,2017,335–351.

HenshawV.,Routeplanningasensorywalk:sniffingouttheissues,In:RichardsonT.,(Ed),WalkinginsideOut:ContemporaryBritishPsychogeography,2015,RowanLittlefieldInternationalLtd,London,195–210.

HenshawV.,MedwayD.,McLeanK.,PerkinsC.andWarnabyG.,(Eds.),DesigningwithSmell:Practices,TechniquesandChallenges,2017,Routledge,London.

LenzholzerS.,KlemmW.andVasilikouC.,Qualitativemethodstoexplorethermo-spatialperceptioninoutdoorurbanspaces,In:UrbanClimate,ICUC9:The9thInternationalConferenceonUrbanClimate23,2018,231–249.

LuptonE.andLippsA.,Senses:DesignbeyondVision,2018,PrincetonArchitecturalPress,Hudson,NewYork.

McLeanK.,Nose-first:PracticesofSmellwalkingandSmellscapeMapping,Unpublisheddoctoralthesis.2019,RoyalCollegeofArt.

RadicchiA.,Apocketguidetosoundwalking,In:BeseckeA.,MeierJ.,PätzoldR.andThomaierS.,(Eds.),Stadtökonomie–blickwinkelundperspektiven,2017,UniversitätsverlagderTUBerlin,Berlin.

RiceM.,JaconsenR.,GolledgeR.andJonesD.,Designconsiderationsforhapticandaudiomapping,Cartogr.Geogr.Inf.Sci.32,2005,381–391.

ThulinS.,Soundmapsmatter:expandingcartophony,Soc.Cult.Geogr.19,2018,192–210.

RelevantwWebsitesSensesHumansenses–https://www.weforum.org/agenda/2017/01/humans-have-more-than-5-senses/.

SmellJeanNoëlHalléandtheodoursofParis–http://rodama1789.blogspot.com/2016/08/jean-noel-halle-and-odours-of-paris.html.

PestilentialDiseaseMapofBethnalGreenParish–https://digital.library.cornell.edu/catalog/ss:19343541.

Odor-producingindustriesmap–https://www.citylab.com/equity/2015/03/this-19th-century-stench-map-shows-how-smells-reshaped-new-york-city/388727/.

SensoryMapsbyKateMcLean–http://sensorymaps.com.

UrbanSmellscapebyCansuSayici–https://www.cansusayici.com/urban-smellscape.

ManhattanSewerSmellsin1910–https://gothamist.com/2013/08/23/map_find_out_what_manhattans_sewers.php.

DailyChicagoChocolateSmellMap–http://chicagococoasmell-blog.tumblr.com/.

OlfactoryFactory–http://www.olfactoryfactory.org/olfactory_en.asp.

Odormonitoringsystem–http://www.odotech.com/en/odor-monitoring-system/.

DEFRAParticulateMatter2.5andeffectsonpublichealth–https://laqm.defra.gov.uk/public-health/pm25.html.

AirQualityMappingexperiment–https://www.sensingthecity.com/lab-7-air-quality-mapping/.

TasteEdibleMapProject–http://mikeytomkins.co.uk/category/maps/.

RosieMackean'sfoodmaps–https://www.brit.co/rosie-mackean-food-maps/.

FoodFestivalsMap–https://www.nationalgeographic.com/travel/travel-interests/food-and-drink/top-food-festival-every-US-state/.

IllustratedmapsbyPeterDonnelly–https://www.donnellyillustration.com/.

MapsbyYaansoon–https://yaansoon.com/.

Jell-OcitiesbyLizHickock–https://www.lizhickok.com/.

ChocolateStreetMaps–http://mentalfloss.com/article/504255/chocolate-maps-turn-streets-famous-cities-edible-art.

HargreavesandLevinFoodArt–https://firstwefeast.com/eat/2014/03/cartography-met-food-artists-recreate-edible-maps-world.

EdibleStateMapinstructions–http://www.atozteacherstuff.com/pages/295.shtml.

SoundHushCityApp–http://www.opensourcesoundscapes.org/hush-city/.

reportMichaelSouthworth'sThesis–https://dspace.mit.edu/handle/1721.1/102214.

BritishLibrarySoundMaps–https://sounds.bl.uk/Sound-Maps/UK-Soundmap.

BeyondtheNoise–http://www.antonellaradicchi.it/portfolio/beyond-the-noise/.

SoundWalksbyAndraMcCartney–https://soundwalkinginteractions.wordpress.com/2010/09/27/soundwalking-creating-moving-environmental-sound-narratives/Citiesandmemory–https://citiesandmemory.com/.

Biosphere–http://www.biospheresoundscapes.org/.

Soundaroundyou–http://www.soundaroundyou.com/.

SoundscapesoftheBlackHills–http://www.smallgauge.org/soundscapesoftheblackhills.html.

Miastofon(SoundsofGdansk)–http://www.subjectivemap.com/miastofon/map_en.html.

PerkinsSchoolfortheBlind–http://www.perkinselearning.org/scout/blog/tactile-maps-and-teaching-maps-skills.

SynaesthesiaTubeMap–https://londonist.com/2013/08/a-synaesthesia-tube-map.

ALookAtWhere,When,AndHowGunfireIsDetectedInD.C.–https://dcist.com/story/17/10/12/shotspotter-data/.

AbilityNet–https://www.abilitynet.org.uk/news-blogs/wayfindr-creates-new-way-blind-people-navigate.

TouchMarshallIslandStickMaps–http://thenonist.com/index.php/thenonist/permalink/stick_charts/.

BestPracticeGuidelinesfortheDesign,ProductionandPresentationofVacuumFormedTactileMapsbyAnneGardinerandChrisPerkins–http://www.tactilebooks.org/tactileguidelines/page1.htm.

TactileMapofSwissAlpsbyAnnaVetter–https://news.nationalgeographic.com/2017/01/new-tactile-map-of-swiss-alps-for-the-blind/.

OtherSensoryCities–THiNK-KiT–http://sensorythinktank.com/.

MakingMapsblog–https://makingmaps.net/tag/sensory-mapping/.

GoodCityLifeproject–http://goodcitylife.org/..

EmotionalMapping–http://biomapping.net/.

QueriesandAnswersQuery:PleaseconsiderprovidingcaptionsforFigs.1–19.

Answer:

Query:Pleaseconfirmthatgivennamesandsurnameshavebeenidentifiedcorrectlyandarepresentedinthedesiredorderandpleasecarefullyverifythespellingofallauthors’names.

Answer:Shouldread:DrKateMcLean

Abstract

Sensory maps depict the world as it is qualitatively experienced, drawing on alternative human sensory modalities to call attention to the more-than-visual sensory characteristics of place. Sensory maps combine aesthetics with

empirically-senseddatasetstobothdepictpersonal,temporally-specifiedrealitiesandtoadvocatetheworldasindividuallyconstructed.Assuchmanysensorymapsareexploratoryandartisticinnature.Sensorymapping'’srootscanbetracedtoa

historicaldesire tomonitorchangingurbanenvironmentalconditionsand tonavigationalpragmatism.Historicalpractices that focusonsenseddatahave led to reforms inpublichygiene, thequalityofsonicenvironments,andhuman-scaleurban

planningthatprioritizesdiversityandwell-being.Contemporarypractitioners,concernedwiththeemotional,embodied,andaffectiveaspectsofcartography,utilizemultiplesensoryoutputmediainadditiontotraditionalpaperanddigitalformsinorderto

drawattentiontosensed,subjectivecharacteristicsandtheirrelationshiptoplace.Wheresensorymappinghasapragmaticaim,urbanpsychogeographicmappingstendtowardsapoliticaldefamiliarizationdefamiliarizionofknownenvironments,drawing

attentiontoemotionalandaffectivepowersofthenatural,culturalandpolitical.OneprimehybridexampleisKrygier'’sGuidePsychogéographiquedeOWU(,theresultofanimprovised,multi-sensoryprojectwithyoungstudents.

Keywords:Edible;Embodied;Experiential;Map;Mapping;Psychogeography;Senses;Sensory;Smell;Smellscape;Sound;Soundscape;Tactile;Taste;Touch

DrKateMcLeanisadesignerworkingattheintersectionofhuman-perceivedsmellscapes,cartography,andthecommunicationof“‘eye-invisible’”senseddata.Sheleadspublicsmellwalksinternationallyandtranslatestheresultingdatausingdigital

design,watercolourwatercolor,animation,scentdiffusion,andsculptureintosmellscapemappings.SheholdsaPhDfromtheRoyalCollegeofArt,UKandisProgrammeDirectorforGraphicDesignatCanterburyChristChurchUniversity.Aspractitioner

andacademic,shehaspublishedinarangeofacademicjournalsandco-editedabook.Kate'’sdesignandtheoreticalworkfeaturesininternationalexhibitions,broadcast,printandelectronicmediaaswellasacademicjournalsincludingtheCooper

HewittSmithsonianDesignMuseum,TheGuardian,BBCRadio4,Wired,DiscoveryChannel,AustralianBroadcastingCorporation,TheNewYorkTimesandTheNewYorker,LeonardoandCommunicationDesign.SmellscapemappingsbyKate

include:Edinburgh(UK),Glasgow(UK),Kyiv(Ukraine),Amsterdam(Netherlands),Paris(France),Pamplona(Spain),Milan(Italy)andNewport,RI(USA),Lausanne(Switzerland)andSingapore.These,andotherrelatedworkisavailableonher

website:sensorymaps.com.