Michael Haldrup

The Family Gaze

Despite the fact that taking photographs is an emblematic tourist practiceand that tourist studies have been dominated by a visual paradigm of gazing, littlesustained research has explored the general connections between tourism andpopular photography. We have virtually no knowledge of why and how touristsproduce photographic images. This article reframes the study of visual culture bystressing the sociality, reflexivity and embodied performances of tourist photography.Instead of portraying the shooting gazer as a disembodied and passive spectator, weview tourist photography as a theatre of life where people in concert perform places,scripts and roles to and for themselves. Whereas existing literatures ‘write out’tourists and their actual practices, interpretations and emotions, tourists’ ownphotographic images and the meanings and desires that tourists inscribe and ascribeto such productions are explored. The analyses show that much tourist photographyrevolves around producing social relations rather than ‘consuming places’. We bringthe performing family into tourist studies through the notion of the ‘the family gaze’that captures how family photography practices are socially organized andsystematized. Rather than being directed at extraordinary ‘material worlds’, the‘family gaze’ is concerned with the ‘extraordinary ordinariness’ of intimate ‘socialworlds’.

Laid-back mobilities: second-home holidays in time and space.

Movement is central to how landscapes and places are encountered and perceived in tourism, yet the role of corporeal mobility has rarely been researched in concrete studies of tourist practices. This paper contends that embodied movement should be viewed as a‘performed art’with its own styles and modalities. It examines three different‘modes of movement’as they emerge from diaries produced by families vacationing in second homes in Denmark. By focusing on this mundane and‘immobile’type of tourism, the paper exposes the various‘travellings-in-dwelling’and‘dwellings-in-travelling’present in the practice of tourism. It concludes by recognizing the central role of embodied movement in prefiguring how places and landscapes are sensed and made sense of in tourism.

Material Cultures of Tourism

Abstract Despite the fact that tourists constantly interact corporeally with things and physical places, tourist studies have failed to understand the significance of materiality and objects in modern tourism. Like much theory and research influenced by the ‘cultural turn’, tourist (and leisure) studies have melted everything solid into signs. This article is inspired by current calls for a renewed engagement with the ‘material’ in social and cultural geography and sociology. It introduces questions of materiality and material culture into cultural accounts of contemporary leisure and tourism, in particular in relation to space and ‘human’ performances. In doing so it stresses the inescapable hybridity of human and ‘nonhuman’ worlds. It is shown that leisure and tourist practices are much more tied up with material objects and physical sensations than traditionally assumed and that emblematic tourist performances involve, and are made possible and pleasurable by, objects, machines and technologies. Thus we suggest that further engagement with the ‘material’ would be the constructive path to follow for future leisure and tourist studies.

Tourism, Performance and the Everyday: Consuming the Orient

1. Performing Tourism, Performing the Orient 2. De-exoticizing Tourist Travel 3. Following Flows 4. Material Cultures of Tourism 5. Mobilising the Orient 6. Doing Tourism 7. Performing Digital Photography 8. The Afterlife of Tourism 9. Tourism Mobilities and Cosmopolitanism Cultures

Heritage as Performance

Studies of heritage have often emphasized the representational side of cultural heritage. Attention has been focused on the symbolic functions of heritage as a repository for the cultural memory of societies, thus emphasizing the role heritage plays, for example, in relation to national history and identity and the close relations between the development of national heritage and similar national developments within literature, history, art and architecture (Urry, 1996; Kirschenblatt-Gimblett, 1998). In a European context, heritage has traditionally been bound up with the conservation of an (imagined) past, hence potentially excluding marginalized experiences and interests from the past it represents. Often the studies of such marginalized examples of heritage have drawn heavily on postcolonial and discursive approaches in order to contest and unpack the power structures at work in producing and performing the ‘authorized heritage discourse’ with its focus on heritage relics as aesthetically pleasing objects valued for their (national) symbolic significance (Smith, 2006, pp. 29–35, 212–29). In contrast, this chapter suggests another approach to heritage. Instead of focusing on the symbolic dimensions of objects and discourses, our approach argues that, as Smith herself makes clear, there is no such thing as heritage (2006, pp. 13–14, 2011, p. 69). In contrast to heritage-as-things, we approach heritage-as-performance, emerging out of the social practices and uses to which people put it.

The bizarre bazaar: FabLabs as hybrid hubs

Abstract In this paper, we consider the FabLab as an experimental facility for research, intervention and learning. By providing a space that affords close proximity between users, producers, technologies and materials, the FabLab affords a ‘hybrid hub’ for weaving relations between these. Borrowing the metaphor of ‘the bazaar’, we argue that FabLabs, due to their open and nonregulated character, can be seen as offering what we call a ‘bizarre bazaar’ for exchange, fabrication and knowledge creation. Based on the background of our own experiences with establishing and running FabLab RUC as an experimental learning, innovation and research environment, we discuss how ‘working through materials’ enables new forms of learning and research. We do this firstly by considering lab-based learning in design in general, and design and anthropological theory around ‘Making’ in particular. We then, secondly, move on to consider three cases for knowledge creation in a Fablab context, drawn from current work at FabLab RUC and demonstrating what we see as key potentials. Finally, and thirdly, we conclude emphasising in particular the role of proximity between researchers, students and professionals in art, technology and entrepreneurship.

The Bachelor Programmes and the Roskilde Model

In this chapter we take a closer look at the structure and organization of the four bachelor programmes offered at Roskilde University. These bachelor programmes, and in particular the possibility they offer for students to gradually specialize in two subjects – possibly even from two different faculties – are quite unique in university education. We explain the historical background for the programmes and how they have developed in the 2012 reform. We analyse how the four pedagogical principles of student-directed project work, problem orientation, exemplarity and interdisciplinarity are implemented differently in the structures of each of the four bachelor programmes and how they are realized in the pedagogical practices. In particular, we analyse the organization and evaluation of student-directed project work across the four programmes. We conclude with some reflections on the relation of the bachelor programmes to other aspects of the university and to broader society.