Trans RINA, Vol 157, Part C1, Intl J Marine Design, Jan - Dec 2015
the organised a
programme, rather e activities still allowed
opportunity of scheduling their around the programme.
independently. We noticed that an ample amount of possible
passengers other daily
than pllanned s
acttivities the
experienced as reassuring whwhen it was warm and the sea was calm. Consequently, weather had an enabling an limiting influence on human and non-human actors, su ch as by enabling or limiting outdoor program and insi de spaces through its effect on light, temperature and sound. For
nd o example weather strongly affected e interviewees
experience through the windows: “sometimes the sea looks ok, if there is sunshine, the sea looks very welcoming, but if there is no quite cold and, and feels onboard [sic]” (Interviewee B).
ot sunshine, then it feels like like I’m happy to be here
Other actors are unable to c weather
as whether to relax or play various sports. Interestingly interpreted
o example, ship movemen was
through
Figure 1: Actor network of everyday distinctions as it emerged fro
om the data.
For many passengers, cruising makes it possible for them to wear certain outfits that they would not wear in their on-shore life. For example three female interviewe es felt that varying their clothing according to the programme their cruise
has a central role in discovered that some pa experience. We assengers felt that changing their
outfit was a necessity many times a day. One interviewee reported that she felt embarrassed if she passed the reception wearing an unsuitable outfit for the current programme, for example sportswear when there was something other than sports going on. During the evening programme, the outfit
gained particular meaning, as
people were focused on their appearance. A cruise ship layout br
rings a special character t to the
programme, as short distances enable participation in multiple events during the day. This escalated the need to change outfits and passengers visit their cabins many times to do so. Furthermore,
actor when it comes to everyday distinctions be people are living in a relatively compact space where most of the furniture is fixed. In addition, the layou decoration of different fro
which increased the everyday distinction.
Research showed that weather is an important bin many actors. In a cruising context, weather was times perceived through ship’s movement, affected by wind and waves. Weather was experienced through many senses and it can be said that weather can also serve as entertainment for some passengers. The results indicated that weather can be the content of the activity and that pa the sun or
nder of many
assengers can watching the
spend long periods just lying in horizon at sunset; weathe
© 2015: The Royal Institution of Naval Architects er was
the cabin is an affective ecause
ut and
the ship were considered distinctively om other holiday and everyday environments,
Passengers were ready to acc other passengers
clothing as onc e inside the ship there were limited frames of reference as the outside view was often limited.
cept changes in their holid ay
o example, one interviewee stated that she was ready to accept the cancellation of an excursion because of the weather, but a whole day would be ruined if the crew caused the cancellation.
pllans due to the weather, even though they would have difficulties accepting that change if other actors caused it. For
d 4.2 PREDICTABILITY
Because almost everything on the cruise is scheduled and fixed, passengers can easily predict the course of bo formally organised and individually organised events (Figure 2). The entire cruise ship works according to the official programme, which gives a rhythm to living on bo
oth h
ship, and events do not start suddenly because the entire pr
oard. The programme guide rogramme
is carefully several network (Figure 2). The y
es the activities on board the communicated through
newsletters, advertisements and through talking with other passengers. These features make communication an essential aim of
choices of activity throughout pa po
difficult because of the fixed
assengers have the freedom to choose from many ossibilities, breaking the planned ‘living rhythm is ed schedule. The guidance of
actors in the predictability official programme offers the
day. Although ’
the cruising company makes passengers feel that other actors in the network are responsible for their mood. Some interviewees thought that they have the right to be unsatisfied with the programme because they did not pa
articipate in planning it: “ o control the weather or escape
from the weather. The continuous and comprehensive influence of the weather meant that passengers take it into account on both a cons For
siistent and inconsistent bas ntt affects their decisions, su
is. ch
“so we just went down from
the catamaran to the sea and came back, which was not what we signed up for. So that was very a, how to say, maybe we misread it but it d H).
did not say [sic]” (Interviewee Naturally, predictability is information that strongly related to the a passengers have gained before the cruise
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