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York University
ANTH 3120
Karl Schmid

Pleasure, senses and the tourist aesthetic Tourism as embodied experience • Focus on the body, bodily experiences—immersing yourself to the sun, swimming, going to hot destinations. We react emotionally to places. • Dwelling in space—idea of being in relation to particular space. How do you learn a particular space? For example: hiking for 2 hours and setting up your tent. When you first get to a new place you’ve never been before, it’s an unfamiliar space. But you learn and slowly adjust to the space. After a couple days, it starts to become more familiar and you dwell in it. • Criticism of the tourist gaze (occularcentrism) Spaces of tourist practice • Distant space—things we look at and gaze upon. Sign and symbols • Representational space • Sourrounding space— we see but also touch now, and smell them • Non-representational geography What in ‘backpacks’ video is to deal with distant or surrounding space? Everything in the backpack is there to make you feel comfortable. The camera allows you to take pictures of your surroundings. Julia Harrison 1. Positive emotional response— goes beyond the tourist gaze, and talks about what the tourist aesthetic is. What gives us the pleasurable experience? It is subjective. It shares a connection with the tourist gaze. In the tourist aesthetic, there is distinction in that we appreciate certain things that we see. 2. Distinctiveness • “both the simple, mundane, everyday dimension of life, and the grand, the magnificent, and the sublime” Tourist experiences Sensory– sights, sounds, textures and touch, tastes, smells. For example, smells can create the tourist aesthetic. Sunrises and sunsets, local dresses, visual pleasure of market places are visual places that are important to people. Separation— being an observer and in the mix of things, and seeing whats going on. OR being
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