Bodies at sea

‘water’ as interface in Viking heritage communication

Publikation: KonferencebidragPaperForskningpeer review

Resumé

Numerous are the signs and markers at museums and heritage sites instructing bodies to “stop, look and listen” (Ingold 2000: 243). Screens to be watched, gadgets and touch sensitive switches to be activated, films to be gazed at in silent concentration or interactive spectacles to participate in. are but a few examples of the many artifacts and devices museums work through in order to involve and engage the bodies of visitors. Yet this dense embodied choreography, this profound corporeality (Massumi 2014: 56) of the museum/heritage encounter, have been strangely absent from current museology and heritage studies (Candlin 2004), reflecting a more profound ‘blind spot’ regarding bodies in social theory (Crossley 2006). While tourism studies, following Veijola and Jokinen’s paper on the absence of bodies in tourist studies, have seen an upsurge in interest in theories and approaches relating to embodiment, these have to a large extend been reserved for particular ways of sensing and performing in tourism (see call). Hence, there is still a need to develop more systematically a repertoire of vocabularies and methods directed at the various ‘affective materialities’ (Anderson and Wylie 2009) at play in tourism. Drawing in particular on performance based readings of heritage consumption and tourism (Haldrup and Larsen 2010; Waterton and Watson 2014; Haldrup and Bærenholdt 2015) as well as developments in non-representational theory and affect theory (Anderson and Harrison 2010; Massumi 2014; Timm Knudsen and Stage 2015) this article explores more broadly the role (and interplay) of embodied sensations in heritage communication. It does so by considering the role of sailing and rowing as a way of exploring, enacting and experiencing Viking culture and life worlds at the Viking Ship Museum, Roskilde, Denmark, conceiving of these “as active interventions in the co-fabrication of worlds.” (Anderson and Harrison 2010: 14). By viewing the sea and its surface as “a space that is not so much known than experienced” (Steinberg in Anderson and Kimberley 2014 xiv) this paper focuses on how the corporeal and ludic performances of bodies at/on the sea presents the world of the Vikings to visitors.
OriginalsprogEngelsk
Publikationsdato30 aug. 2016
Antal sider16
StatusUdgivet - 30 aug. 2016
BegivenhedRGS-IBG Annual International Conference 2016: Nexus Thinking - London, Storbritannien
Varighed: 30 aug. 20162 sep. 2016
http://www.rgs.org/WhatsOn/ConferencesAndSeminars/Annual+International+Conference/Annual+International+Conference+2016.htm

Konference

KonferenceRGS-IBG Annual International Conference 2016
LandStorbritannien
ByLondon
Periode30/08/201602/09/2016
Internetadresse

Emneord

  • affect heritage methodology ethnography materiality embodiment performance

Citer dette

Pedersen, M. H. (2016). Bodies at sea: ‘water’ as interface in Viking heritage communication. Afhandling præsenteret på RGS-IBG Annual International Conference 2016, London, Storbritannien.
Pedersen, Michael Haldrup. / Bodies at sea : ‘water’ as interface in Viking heritage communication. Afhandling præsenteret på RGS-IBG Annual International Conference 2016, London, Storbritannien.16 s.
@conference{1ee1667fcf224d38a6e5296c689b92c2,
title = "Bodies at sea: ‘water’ as interface in Viking heritage communication",
abstract = "Numerous are the signs and markers at museums and heritage sites instructing bodies to “stop, look and listen” (Ingold 2000: 243). Screens to be watched, gadgets and touch sensitive switches to be activated, films to be gazed at in silent concentration or interactive spectacles to participate in. are but a few examples of the many artifacts and devices museums work through in order to involve and engage the bodies of visitors. Yet this dense embodied choreography, this profound corporeality (Massumi 2014: 56) of the museum/heritage encounter, have been strangely absent from current museology and heritage studies (Candlin 2004), reflecting a more profound ‘blind spot’ regarding bodies in social theory (Crossley 2006). While tourism studies, following Veijola and Jokinen’s paper on the absence of bodies in tourist studies, have seen an upsurge in interest in theories and approaches relating to embodiment, these have to a large extend been reserved for particular ways of sensing and performing in tourism (see call). Hence, there is still a need to develop more systematically a repertoire of vocabularies and methods directed at the various ‘affective materialities’ (Anderson and Wylie 2009) at play in tourism. Drawing in particular on performance based readings of heritage consumption and tourism (Haldrup and Larsen 2010; Waterton and Watson 2014; Haldrup and B{\ae}renholdt 2015) as well as developments in non-representational theory and affect theory (Anderson and Harrison 2010; Massumi 2014; Timm Knudsen and Stage 2015) this article explores more broadly the role (and interplay) of embodied sensations in heritage communication. It does so by considering the role of sailing and rowing as a way of exploring, enacting and experiencing Viking culture and life worlds at the Viking Ship Museum, Roskilde, Denmark, conceiving of these “as active interventions in the co-fabrication of worlds.” (Anderson and Harrison 2010: 14). By viewing the sea and its surface as “a space that is not so much known than experienced” (Steinberg in Anderson and Kimberley 2014 xiv) this paper focuses on how the corporeal and ludic performances of bodies at/on the sea presents the world of the Vikings to visitors.",
keywords = "affect heritage methodology ethnography materiality embodiment performance",
author = "Pedersen, {Michael Haldrup}",
year = "2016",
month = "8",
day = "30",
language = "English",
note = "RGS-IBG Annual International Conference 2016 : Nexus Thinking ; Conference date: 30-08-2016 Through 02-09-2016",
url = "http://www.rgs.org/WhatsOn/ConferencesAndSeminars/Annual+International+Conference/Annual+International+Conference+2016.htm",

}

Pedersen, MH 2016, 'Bodies at sea: ‘water’ as interface in Viking heritage communication' Paper fremlagt ved, London, Storbritannien, 30/08/2016 - 02/09/2016, .

Bodies at sea : ‘water’ as interface in Viking heritage communication. / Pedersen, Michael Haldrup.

2016. Afhandling præsenteret på RGS-IBG Annual International Conference 2016, London, Storbritannien.

Publikation: KonferencebidragPaperForskningpeer review

TY - CONF

T1 - Bodies at sea

T2 - ‘water’ as interface in Viking heritage communication

AU - Pedersen, Michael Haldrup

PY - 2016/8/30

Y1 - 2016/8/30

N2 - Numerous are the signs and markers at museums and heritage sites instructing bodies to “stop, look and listen” (Ingold 2000: 243). Screens to be watched, gadgets and touch sensitive switches to be activated, films to be gazed at in silent concentration or interactive spectacles to participate in. are but a few examples of the many artifacts and devices museums work through in order to involve and engage the bodies of visitors. Yet this dense embodied choreography, this profound corporeality (Massumi 2014: 56) of the museum/heritage encounter, have been strangely absent from current museology and heritage studies (Candlin 2004), reflecting a more profound ‘blind spot’ regarding bodies in social theory (Crossley 2006). While tourism studies, following Veijola and Jokinen’s paper on the absence of bodies in tourist studies, have seen an upsurge in interest in theories and approaches relating to embodiment, these have to a large extend been reserved for particular ways of sensing and performing in tourism (see call). Hence, there is still a need to develop more systematically a repertoire of vocabularies and methods directed at the various ‘affective materialities’ (Anderson and Wylie 2009) at play in tourism. Drawing in particular on performance based readings of heritage consumption and tourism (Haldrup and Larsen 2010; Waterton and Watson 2014; Haldrup and Bærenholdt 2015) as well as developments in non-representational theory and affect theory (Anderson and Harrison 2010; Massumi 2014; Timm Knudsen and Stage 2015) this article explores more broadly the role (and interplay) of embodied sensations in heritage communication. It does so by considering the role of sailing and rowing as a way of exploring, enacting and experiencing Viking culture and life worlds at the Viking Ship Museum, Roskilde, Denmark, conceiving of these “as active interventions in the co-fabrication of worlds.” (Anderson and Harrison 2010: 14). By viewing the sea and its surface as “a space that is not so much known than experienced” (Steinberg in Anderson and Kimberley 2014 xiv) this paper focuses on how the corporeal and ludic performances of bodies at/on the sea presents the world of the Vikings to visitors.

AB - Numerous are the signs and markers at museums and heritage sites instructing bodies to “stop, look and listen” (Ingold 2000: 243). Screens to be watched, gadgets and touch sensitive switches to be activated, films to be gazed at in silent concentration or interactive spectacles to participate in. are but a few examples of the many artifacts and devices museums work through in order to involve and engage the bodies of visitors. Yet this dense embodied choreography, this profound corporeality (Massumi 2014: 56) of the museum/heritage encounter, have been strangely absent from current museology and heritage studies (Candlin 2004), reflecting a more profound ‘blind spot’ regarding bodies in social theory (Crossley 2006). While tourism studies, following Veijola and Jokinen’s paper on the absence of bodies in tourist studies, have seen an upsurge in interest in theories and approaches relating to embodiment, these have to a large extend been reserved for particular ways of sensing and performing in tourism (see call). Hence, there is still a need to develop more systematically a repertoire of vocabularies and methods directed at the various ‘affective materialities’ (Anderson and Wylie 2009) at play in tourism. Drawing in particular on performance based readings of heritage consumption and tourism (Haldrup and Larsen 2010; Waterton and Watson 2014; Haldrup and Bærenholdt 2015) as well as developments in non-representational theory and affect theory (Anderson and Harrison 2010; Massumi 2014; Timm Knudsen and Stage 2015) this article explores more broadly the role (and interplay) of embodied sensations in heritage communication. It does so by considering the role of sailing and rowing as a way of exploring, enacting and experiencing Viking culture and life worlds at the Viking Ship Museum, Roskilde, Denmark, conceiving of these “as active interventions in the co-fabrication of worlds.” (Anderson and Harrison 2010: 14). By viewing the sea and its surface as “a space that is not so much known than experienced” (Steinberg in Anderson and Kimberley 2014 xiv) this paper focuses on how the corporeal and ludic performances of bodies at/on the sea presents the world of the Vikings to visitors.

KW - affect heritage methodology ethnography materiality embodiment performance

M3 - Paper

ER -

Pedersen MH. Bodies at sea: ‘water’ as interface in Viking heritage communication. 2016. Afhandling præsenteret på RGS-IBG Annual International Conference 2016, London, Storbritannien.