Stephanie Merchant

The body and the senses: Visual methods, videography and the submarine sensorium

Drawing on methodological approaches used by visual anthropologists, film theorists and debates prevalent in the cultural studies literature, this paper is interdisciplinary in approach and attempts to tackle the challenge of collecting and analyzing embodied, sensuous and pre-reflective ‘data’ by advocating the value of integrating videography into research methodologies. The paper is illustrated with an examination of underwater videography footage, featuring scuba divers coming to terms with their surroundings. By considering the ways in which those featured in the film relate to the onscreen images, upon watching the footage, the paper explores how we might begin to study and represent the ‘unrepresentable’ senses of, for example, touch and the somatic senses, including proprioception, in addition to the heightening or modification of these.

Negotiating underwater space:The sensorium, the body and the practice of scuba-diving

The desire to escape from land-based bodily constraints, to become enchanted by the spectacle of technicolour reefs, sunken ships and otherworldly creatures, is growing in popularity despite the expense and training required to explore the ocean depths. This dense water world, where a person’s resistance to gravitational pull results in differing feelings of weightlessness, where sound travels about five times faster yet more unevenly than in air, and where verbal communication is impractical such that visual cues are necessary, calls for a different ‘way of being’ to the everyday spaces of the home or the workplace. It is these different ways of being and feeling that I explore in this paper. To do this I present a sensual phenomenology that pays particular attention to the reorganization of the sensoria of a group of novice divers as they start to gain an awareness of the different perceptual means by which they move through and sense underwater space. The paper concludes by highlighting that phenomenological accounts of tourist space can shed light on the intricacies of tourists’ lived experiences, which in turn could prove useful in the structure and organization of tourist activities.

(Re)constructing the tourist experience? Editing experience and mediating memories of learning to dive

Abstract Through an analysis of the mediative techniques involved in the production of videographic tourist memorabilia (specifically souvenir DVDs of learning to SCUBA dive), in this paper I seek to render visible the often unconsidered aspects of visual media production that result in not only visual images themselves, but also by extension, the construction of alternate realities of leisure space and tourist performance. A connectionist approach to the study of memory is advocated highlighting that mediatory technologies, whilst acting as stimulants for recollection, actually inform and construct memories rather than transmitting realistic snippets of past experience. In the paper, it is questioned whether ‘authenticity’ is a relevant frame of reference bearing in mind that the ‘post-tourist’ is often perfectly aware of the lack of authenticity in many tourist activities and happy to go along with a pretence. With this in mind, the paper concludes by stating that ‘reality’ is arguably being edited out of memories concerning tourism’s places and practices through the production of commercially driven and produced ‘souvenirs’. For the most part, the paper focuses on the experiences of young tourists between the ages of 18–25, the key demographic attracted to the field site in question.

On the Transgressive Possibilities of Physical Pedagogic Practices

Within this article, we critically reflect on the production and reproduction of knowledge(s) within the academic study of sport—a field dominated (to its detriment) by self-destructive versions of reductionist science that (subconsciously) act as insidious components of the social and economic condition that privileges “state” science and fail to do justice to the potentialities of “the physical” in overcoming social, political, and health inequalities. To counter such regressive orthodoxies, we focus on a corporeal/technoslow approach to the curriculum/pedagogy in an effort to initiate dialogue about a more progressive and democratic social science of sport, leisure, and physical cultures—a transgressive pedagogy that can encourage transformation and the political potentialities of “the physical.”

The promise of creative/participatory mapping practices for sport and leisure research

Abstract This paper provides an introduction to the concept of creative participatory mapping of human–environment relations. It is identified that within human geography, artistic practice and urban design, biomapping and similar community mapping tools and methodologies are increasingly being embraced. However, within sports and leisure research the concept has yet to gain academic attention. Consequently, this paper provides a basis for thinking about how researchers and research participants in the fields of sport and leisure research might benefit if mapping human–environment relations was to be embraced and integrated into research design practices. Referencing recent turns to studying space and affect within sport and leisure studies, mapping is argued to offer innovative methodological opportunities for studying how people relate to and understand the urban environments in which they practice physical activity and leisure forms of embodiment. The paper concludes by arguing that, along with offering up new avenues for conceptual research, mapping human–environment relations, if readily embraced, can go a long way to fostering community engagement in: the identification of (un)safe urban routes for sport/leisure practice (e.g. running, cycling), the development and site identification of health/physical activity initiatives and the design of urban landscapes of sport/leisure.