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UIUC KIN 249 - 9 sensual affective student

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Sensual Snowboarding Bodies in Affective SpacesWhat is Thorpe doing in this Chap. 9? “I hope to reveal the sensuous snowboarding experience as ‘nothing but the body, the principal means whereby the body mingles with the world and with itself, overflows its borders’”. (Thorpe, quoting Serres, p. 222). Learning about social theories through snowboarding; in this chapter, learn about theories related to sensual, affective aspects of culture. How does Thorpe get to this moment in her research (in which she is interested to “explore the ‘sensual relations’ of social life within various geographies”)? (Thorpe, p. 220)“A sensual revolution in the humanities and social sciences. . . Challenges conventional theories of representation” (Thorpe, p. 220). Some scholars came to prefer “interpretation”, “qualitative studies” and “self-reflection” instead of, or in addition to “objective,” “quantitative,” “unbiased” studies. Culture and humans are “messy”; there is no such thing as “unbiased,” thus the study of humans in culture can’t be contained in objective scientific study. Chapter is inspired by • Cultural geography • Auto-ethnography; autoethnography • Affective and sensuous scholarshipInfluential works about the affective, sensual, and spatial that have influenced academic work on sport & physical culture • Jean-Paul Sartre • Michel Serres • Brian Massumi • Norman Denzin • Roland Barthes • C.L.R. JamesMichel Serres “declines the rules of engagement that govern academic theory, opting instead for a poetic approach that privileges ‘unfolding rather than analysis’”. (as quoted by Thorpe, p. 222).Roland Barthes describes the aims of his teaching: “I will pursue a ‘phantasmic teaching,’ one based on the comings and goings of desire which [the teacher] endlessly presents and represents. I sincerely believe that at the origins of teaching such as this we must always locate a fantasy which can vary from year to year” (Roland Barthes, [Rosalind Krauss, trans.], “From The Neutral: Session of March 11, 1978,” October 112 Spring 2005, pp. 3-22).C.L.R. James: Sports can be studied as visual arts: • Form, lines, tones, values; • Sense of movement and aesthetics of that movement; • Extract the signification of movement; • Appreciation of the perfect flow of movement; • Mystical element of physical prowess and response.All of these (above) thinkers helped scholars contemplate: What do we research and to what end? How to disseminate research (in what genre: Article, text book, book review, poetry, fiction, performance, virtual? What type of narrative: Scientific? First person? Satirical? Shock? The practices and ethics of authorship.Moments or “turns” in sport & physical culture studies were influenced by above thinkers.The sociology, humanities, cultural studies of sport and the body have a history Affective, spatial, and sensual turns (see Thorpe, p. 220). Early scholarship by John Bale and Ian Borden influenced sport & physical culture studies.Ian Borden, Skateboarding, Space and the City: pioneering work in the study of senses, affect and space “Architecture not a thing but is a production of space, time and social being” (Borden, p. 1)Borden • “Architecture [is] a set of flows. . . a set of experiences and reproductions. . . Architecture is not itself space, but only a way of looking at space. . . . [We] must move away from seeing architecture only as things, imagination as that only of architects, mapping as only by drawing and space as only interior, façade, composition and garden.” (Borden, pp. 6-7).Borden • “People encounter architecture in conditions of, for example, danger, exhilaration, anonymity and sexual freedom, as has been shown for such cities as Paris, London, Berlin, Los Angeles.” (Borden, p. 9) • “The importance of the skateboard as a device is not solely its manufacture or design, but what can be done with it, becoming a living component of the body, its actions and its self-image in relation to the terrain and architecture beyond.” (Borden, p.28)John Bale, Landscapes of Modern Sport, 1994. “my basic thesis has been that modern sportscapes are archetypes of modernity, their rationalism born of the very (anti)nature of sport which encourages, more than most other forms of culture, the tendency towards placelessness” (Bale, p. 189).Bale • “Inherent in the nature of modern achievement sport are great pressures to produce homotopian [the sameness of sports places] landscapes” (John Bale, 1996, pp. 233, 248).So Holly Thorpe follows in the tradition of scholars like Serres, Massumi, Bale and Borden in her “Sensual Snowboarding Bodies in Affective Spaces” chapter.Selected termsAffect, affective Affect: Feelings, emotions, sensations, experiences, meanings; can be between bodies Expressions such as music or snowboarding can transmit affect Ethnographic work on affective experiences of snowboarding Take into account the somatic (of the body), multisensual (as many senses as possible) in research. Never forget the politics and discursive formations of affective experiencesEpiphenomena The senses and arts provide scholars of physical culture with more ways to understand the sociology of [snowboarding culture]. This world of epiphenomena (from Alfred Jarry; Gilles Deleuze) enrich our imagination, enrich our sense of possibilities; highlighting epiphenomena in research gives us an interesting account of the world; focusing on epiphenomena allows the faculty of imagination into scholarship. An ethnography that illuminates “epiphenomena” helps bring snowboarding experience “closer to our skin” (Thorpe, p. 221) vs. results from a questionnaire.Cultural geography • All spaces, real, imagined, virtual, historical, etc. studied as discursive formations. Social organization, landscapes, architecture (natural and human-made), events, game forms themselves are understood as being part of and also “places” themselves. All human doings are spatial. Human society and history takes place in spaces.Culture “A semantic terrain, a space both historical and spatial, where the practices of signification and representation are enacted-—here people represent themselves and their histories to themselves and others. . . An unfolding process, culture is always politically situated, conflictual, and potentially empowering. .


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