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Purpose – The chapter aims to explore women's entrepreneurship in the sciences, specifically, veterinary medicine, and to highlight future potential.

Methodology/approach – Following a review of the extant literature, the chapter employs a single case approach to explore the experiences of a woman academic entrepreneur in the field of veterinary medicine.

Findings – The findings support the view that women are significantly under-represented in the sciences (SET/STEM) both as professionals and as entrepreneurs. The chapter also finds that, due to a relatively low number of veterinary professionals currently working in industry and/or commercialisable research areas, the sector offers significant potential for entrepreneurship, particularly among women veterinarians.

Research limitations/implications – Despite providing rich and meaningful insights that enhance understanding, the single case approach limits the potential for generalising the findings.

Practical implications – Given the significant increase in the number of women entering veterinary education in recent years, the chapter has important implications for how gender is considered in the promotion of entrepreneurship within veterinary medicine curricula.

Social implications – In view of the imminent gender shift within the profession, the case discussed in this chapter serves as an important role model to encourage more women to engage in entrepreneurship.

Originality/value of chapter – As one of the few studies offering insights on women's entrepreneurship in veterinary medicine, this chapter helps enhance our understanding of the field.

This chapter reports on research that explores new and emerging extended reality [XR] technologies and how they might provide opportunities to trial, investigate, and put into practice their potential to reverse processes of atomisation, polarisation, and intercultural discomfort, in our contemporary society. This transdisciplinary practice-led research was underpinned by disciplines of computer science and engineering, social sciences, history, diverse community economics, human ecology, and Indigenous psychology. The collaboration between these various disciplines with the Māori and non-Māori community members allowed researchers to understand current societal stressors, prioritise relationality, and explore our shared values in the creation of XR experiences for exhibition in the galleries, libraries, archives, and museums [GLAM] sector.

A discursive design framework motivated, inspired, provoked, persuaded, and reminded inspiring collaborators, and visitors to the exhibitions, the value of (re)connecting with people and overcoming interracial awkwardness through these curated experiences. The XR technologies provided women a platform to discuss and reimagine first encounters between people from different cultural backgrounds. The technologies included a 180° stereoscopic projection, Common Sense, in which Māori Elder Irene Hancy shared her insight about social engagement and haptic HONGI in which visitors were greeted by a Māori woman Tania Remana via augmented reality. This research has been motivated by a desire to promote and support intercultural understanding in Aotearoa New Zealand, and it extends research by other non-Māori and Māori scholars.

The urban environment is perceived through multiple senses in parallel, which means that visual understanding of space is aided and complemented by auditory, basic-orienting, and haptic stimuli – although mainly unconsciously. Sensory conditions are inherent attributes of urban places, but are often overlooked in research. To include these aspects in any way in analysis of the urban landscape, they need to be understood as properties of urban space, to be translated from attributes of the perceiver to attributes of the perceived. Using the relation between a designed garden and its suburban context in Bad Oeynhausen (DE) as an example, I will explore an alternative analytical methodology that takes the first-hand perspective view of the subject moving through the city as the starting point. The human body explores space by moving through it; walking is the most direct way to access, study, and research the physical qualities of the (urban) landscape, involving not only visual experience but also sound, rhythm, kinaesthesia, balance, and so forth. A notation technique that discloses the interrelation between visual qualities and their perception over time is the technique of ‘scoring’. Scores are symbolisations of processes, which extend over time. They can objectively represent non-visual qualities of space, communicating the relation between such processes and their spatial context to others in other places and other moments. These representations of movement expose the qualities of the surroundings that change as one moves through them, thus communicating the experiential aspects of urban landscape.

Customer experience is increasingly recognized as a source of competitive advantage. Customer experience refers to customers' responses and reactions to cues within touchpoints along customer journeys. Nowadays, customers often interact with online touchpoints – such as social media, websites, or e-commerce – in their customer journeys. Given that customer experience is multidimensional, this chapter addresses the following question: How can sensorial experiences be triggered in online touchpoints? Based on a review of the literature on customer experience and sensory marketing, four challenges in triggering sensorial experiences in online touchpoints are identified: (1) limited sensorial cues, (2) lack of thematic congruence between online and offline touchpoints, (3) sensory overload, and (4) lesser control over sensorial cues. Then, two routes through which organizations can trigger sensorial experiences in online touchpoints are proposed: (1) directly influencing sensations through sensory-enabling technologies, and (2) indirectly influencing sensorial perceptions through the use of sensory and nonsensory cues. The chapter closes with a presentation of a model that describes the process of triggering sensorial experiences in online touchpoints as well as a checklist of relevant questions for practitioners who wish to do so.

Purpose – The purpose of this chapter is to differentiate between a sociology of the body and an embodied sociology, prior to considering what this might mean in methodological terms for those wishing to conduct research into the senses and the sensorium in sport and physical culture.

Design/methodology/approach – The approach taken involves reviewing the work of those who have already engaged with the senses in sport and physical culture in order to highlight an important methodological challenge. This revolves around how researchers might seek to gain access to the senses of others and explore the sensorium in action. To illustrate how this challenge can be addressed, a number of studies that have utilised visual technologies in combination with interviews are examined and the potential this approach has in seeking the senses is considered.

Findings – The findings confirm the interview as a multi-sensory event and the potential of visual technologies to provide access to the range of senses involved in sport and physical culture activities.

Research limitations/implications – The limitations of traditional forms of inquiry and representational genres for both seeking the senses and communicating these to a range of different audiences are highlighted and alternatives are suggested.

Originality/value – The chapter's originality lies in its portrayal of unacknowledged potentialities for seeking the senses using standard methodologies, and how these might be developed further, in creative combination with more novel approaches, as part of a future shift towards more sensuous forms of scholarship in sport and physical culture.

To begin, therefore by establishing certain parameters to both delimit and evoke the discussion, one might first note before side-stepping the well-recognised ethical issues that announce themselves within these early ethnological texts (see for instance Hsu, 1979). The ‘pith-helmet’ terminology and exoticised intentionality, borne with such unselfconscious assurance, can in fact serve to effect complacency on the part of the contemporary ethnographer – were they to believe that one could completely escape such tendencies. In fact, Western thought has always displayed just these acquisitive geometries in its surveying, arraying and apprehending of the world.¹ Obviously, therefore, this is not to criticise in a naive or petulant manner a fundamental comportment of the Western intellectual tradition, which clearly structures this and every enquiry couched within its terrain. Nor is it to suggest that certain keywords (‘colonialism’ for example) might somehow name this tendency without repeating its form, or that earnest mantras concerning ‘emancipation’ or ‘respect for alterity’ immediately authorise its continuation. For one to deal responsibly with the ensuing philosophical and ethical motifs would require a measured and careful analysis beyond the remit of the present discussion. Nonetheless, the basic geometry of this disposition is assumed for ethnography in the analysis that follows. Ethnography, that is to say, is actively oriented towards an object, here referred to variously as ‘lived experience’ or ethnos, and is always to some measure engaged in the apprehension and transmission of that object.

This chapter takes inspiration from Eve Kosofsky Sedgwick’s artistic work and academic writing to attend to some of the under-utilised dimensions of her work to date, that of making. Using unconventional methodologies from Sedgewick, I present my own unconventional methodologies to queer CMS. In this way through theory and making, we can queer CMS anew.