Trans RINA, Vol 157, Part C1, Intl J Marine Design, Jan –Dec 2015
human actors equally, and conceives that any kind of action is based on the interactions between these two kinds
of other actors [31]. because purely
illustrate how these networks are built and sustained. However,
a
relationships and interactions cannot be separated from each
According to ANT, social social actors or social
interaction does not exist, and that instead networks are built from diverse actors, including actors such as humans, money and machines. Consequently, it
possible to explain collective actions and understanding without exploring interactions between these two kinds of actors [31].
To our knowledge the cruise experience or the cruise ship environment has not been investigated before with an ANT approach. However, the methodology suits the purpose well as shown by tourism scholars. For example despite ANT not being used in Kwortnik’s [28] study the three main components of ANT can be located. First, human actors exist in a role of the passengers and as service producers. Second, non-human entities exist in wider context, for example the program, weather, and language. Third,
the whole system would not exist
without the interaction between the former two. In other words, the cruise ship environment is a complex physical and social context that must accomplish multiple tasks when producing the cruise experience [28].
We propose that cruise experience phenomena can be better understood when emerging human and non-human actors are acknowledged equally, and the revealed interconnectivity and relationships interpreted. However, more detailed understanding is
applicability of the methodology to effectively use ANT methodology to influence cruise ship design.
This study contributes to the literature by providing valuable insights into the cruise experience phenomena. This is important for several reasons. Firstly, it extends the theoretical understanding of how cruise experience emerges. Secondly, it provides more knowledge on human-environment interaction, and this is valuable for ship
designers when
processes in which people gain valuable experiences. Finally, although the
designing environments use of social
and design
methodologies in maritime research is growing [1, 38, 48] the approach is relatively radical. Nonetheless, with this approach we believe that the highly experimental environment of the cruise ship can be explained in order to characterise involved actors and their relationships, which introduces an alternative approach by translating actor-network theory into the field of cruise ship design.
2. TRACING THE CRUISE EXPERIENCE WITH ACTOR-NETWORK THEORY
Van Der Duim & Caalders [56] suggests that the tourism should be seen as emergent effects, rather than premeditated. With ANT human and non-human entities along with material and immaterial relationships can be explained in the form of networks making it possible to
is not constant process of conversion and
regeneration is common to all of the networks, and interactions between actors in the network need to be continuous in order for the network to remain together [31]. Therefore, actors cannot be situated precisely in certain places, but instead actors are engaged in the surrounding environment. Whilst networks can either be temporary or long lasting, Law [36] notes that the overall features of the network are larger than the sum of its parts. Building on this, networks are not regarded as static in ANT, but instead as repositories of past, present, and
future decisions, actions, and perceptions. To
illustrate this, temporal mobility in ANT is conceptualised through “inscription” and “translation” [3, 33].
Inscription in ANT’s context refers to the process where past
events are embodied in an object [3] while
translation should be understood as objects being perceived and understood by others in situ. Many times translation has been used for re-conceptualising tourism processes to establish relationships between actors [see e.g. 45, 57]. In common with these approaches, the focus of this study is to identify the translations between actors to better understand the role different actors have within the cruise experience. In other words translation defines the roles and delineates the scenario [9].
needed on the
The third central concept of ANT and the present research is the “ordering”. According to Law [35] ANT is
the sociology of ordering rather than of order.
Consequently, translations generate the ordering effects in which the ordering demonstrates how reality is constructed through processes of translations [58]. In other words when relationship between different actors is established it is called translation, which becomes a network together
with and
emerging process can be called cruise ordering. Thus, tourism and
When human and heterogeneous non-human are similarly cruising are
products of constant ordering: a complex network of human and non-humans creates ordering effects’ [18].
elements, objects, spaces,
studied as and
technologies should be seen as binders, which structure, define, and configure interaction rather outcrops of human intention and action [56].
than as the This is
because every extension of a network in space and in time not only incorporates more and more humans, but also incorporates more and more non-humans [59]. For example a passenger may have chosen the cruise vacation because the total escape it provides, whereas the cruise ship’s layout and cruise program enables multiple events to be
attended in a short time-period, and
therefore time-space decompresses immediately. Thus, the layout and program are the important binders of the experience. Furthermore, the cabin, wellness amenities, and security systems may be important binders, which
other translations and this experience
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© 2015: The Royal Institution of Naval Architects
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