What is all this psychogeographic stuff?

In the hopes of learning through making, I’ve explored a few possibilities for maps of my own.

This isn’t really a map but I wanted to include it anyways because when I started writing this post I was reminded of it. My friend Betsy asked me to contribute to an exquisite corpse project she was working on for the Michael Rock lecture, and this is what I sent (above).

I handed this out for my presentation today – a map of my ideas in a Situationist style. I realized that psychogeography is an umbrella topic for many different things:
a. the personal experience of the street
b. the alternate experience of the street enabled by another person (artist/performer)
c. an artist who aggregates many people’s experiences.

The experience can include emotions, atmospheres, encounters with people, play, and letting the contours of geography guide you.

Another topic entirely is the memory map – recording all of the associations you have with a place.

Ok, glad I got that all organized for myself. Here are a few drawings I made with colored pencils based on the symbol exploration (I posted earlier). Using the abstract grid and symbols I recreated my personal experience on Rivington street. So these are memory maps, not psychogeographies. But how can you represent the psychogeography you experience on the street? Through memory, unless there is a way to record it in real time. Oh, video does that. But video doesn’t capture the moods, feelings and energy of a place as well as being there. I’m feeling the limitations of all mediums for this idea but I’m prepared to embrace those constraints. I have a relatively interesting idea for my next project, and I’m excited to see where it takes me.

There are three different types of symbols that I used for these: actual symbols, letters that are similar in form to the symbol, then a “free draw” of what I felt represented the symbol. I’m using the word symbol loosely here, and maybe I should look into other word options.

I’m not going to go much in depth about my critique with Bruce Mau last Friday, but the most important thing I learned was to NEVER say the word preservation in association with my thesis. EVER AGAIN.

Published by Elizabeth Pizzuti

Design, art, and cats mostly

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