9 The Underwater Landscape
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Among these components, little mention is made of artificial elements such as wrecks
or breakwaters (mentioned by only 3 divers). Moreover, water, unquestionably the
main element of the subaqueous environment, is rarely presented as a defining ingredient of the underwater landscape. Neither the body of water as a unique ingredient
of the landscape’s composition (i.e. without referring to the seafloor), or the water
column (a conceptual column of water from surface to bottom sediments), is ever
perceived as a landscape per se. One of the participants even pointed out that the
notion of the water column as a landscape without mentioning the sea floor had no
meaning for him, ‘For me, a landscape within the water column, without the sea
floor has no meaning.’ Yet while the body of water and water column are not then
considered as landscapes in the strictest sense of the word, water obviously greatly
influences the divers’ perception of the landscape. When water is mentioned as a
component of the landscape, it is always in terms of its opacity or clarity, and the
visibility it provides. This manner of characterising the underwater landscape is in
fact closer to what we could define as the underwater ‘place atmosphere’.
Indeed, the atmosphere created by the landscape beneath the water is also referred
to by the divers (22 out of 76), in what amounts to an almost architectural acceptation of the term. Such questions as colour, form, volume, size and texture are raised.
‘An underwater landscape is a fine architectural composition of forms, volumes and
colours. . . ’ By atmosphere, some divers also refer to the physical nature of the atmosphere, in terms of clarity and opacity, the play of light and shade, the motionless
tranquillity of the surrounding scene or its lively animation. ‘An underwater landscape is first and foremost an atmosphere of shifting light and shade.’ Colour and
light are the main ingredients referred to (17 divers in total). The question of visibility
was far less frequently mentioned in any explicit way. Only one participant thought it
necessary to point out that the underwater landscape is ‘a general atmosphere which,
depending on the relief and composition of the sea floor (whether it be sandy, rocky,
plant-covered or a reef), directly determines what is likely to be seen.’ The question
of visibility as such, apart from this one exception, was hardly mentioned at all.
The underwater landscape is ‘first and foremost an ensemble of elements, ranging
from colour, volume and size, whose juxtaposition arouses emotion.’ The divers, in
fact, placed great importance in their definitions on the sensations, impressions and
emotions triggered by diving (21 out of 76 divers). These emotions are generally
pleasant ones and evoked in terms of ‘delight’, ‘unique’ or ‘intense pleasure’, arousing a sense of ‘wonder’ and ‘bliss.’ Strong emotions indeed, and sought after for their
rarity by divers, who express a desire to experience a sense of ‘freedom’, ‘splendour’
and ‘escape.’ (This, in turn, is reminiscent of the aesthetics of the sublime, to which
we will return later.) The beauty of the landscape is often referred to explicitly. Indeed, 7 divers described the underwater landscape in terms of its ‘beauty.’ Yet the
overriding feeling triggered was that of well-being, in association with the sense
of ‘peace’ and ‘tranquility’ of the underwater world, and the ‘pleasant’, ‘restful’,
‘appeasing’ and ‘relaxing’ nature of the divers’ time spent within it.
A further point worthy of note is the reference to what the eye may see, and to
the angle of vision the diver adopts in observing the landscape that this supposes.
This point is not mentioned systematically (only 20 out of 76 divers made specific
reference to it), despite the fact that the definition of the term ‘landscape’ implies an
143
Among these components, little mention is made of artificial elements such as wrecks
or breakwaters (mentioned by only 3 divers). Moreover, water, unquestionably the
main element of the subaqueous environment, is rarely presented as a defining ingredient of the underwater landscape. Neither the body of water as a unique ingredient
of the landscape’s composition (i.e. without referring to the seafloor), or the water
column (a conceptual column of water from surface to bottom sediments), is ever
perceived as a landscape per se. One of the participants even pointed out that the
notion of the water column as a landscape without mentioning the sea floor had no
meaning for him, ‘For me, a landscape within the water column, without the sea
floor has no meaning.’ Yet while the body of water and water column are not then
considered as landscapes in the strictest sense of the word, water obviously greatly
influences the divers’ perception of the landscape. When water is mentioned as a
component of the landscape, it is always in terms of its opacity or clarity, and the
visibility it provides. This manner of characterising the underwater landscape is in
fact closer to what we could define as the underwater ‘place atmosphere’.
Indeed, the atmosphere created by the landscape beneath the water is also referred
to by the divers (22 out of 76), in what amounts to an almost architectural acceptation of the term. Such questions as colour, form, volume, size and texture are raised.
‘An underwater landscape is a fine architectural composition of forms, volumes and
colours. . . ’ By atmosphere, some divers also refer to the physical nature of the atmosphere, in terms of clarity and opacity, the play of light and shade, the motionless
tranquillity of the surrounding scene or its lively animation. ‘An underwater landscape is first and foremost an atmosphere of shifting light and shade.’ Colour and
light are the main ingredients referred to (17 divers in total). The question of visibility
was far less frequently mentioned in any explicit way. Only one participant thought it
necessary to point out that the underwater landscape is ‘a general atmosphere which,
depending on the relief and composition of the sea floor (whether it be sandy, rocky,
plant-covered or a reef), directly determines what is likely to be seen.’ The question
of visibility as such, apart from this one exception, was hardly mentioned at all.
The underwater landscape is ‘first and foremost an ensemble of elements, ranging
from colour, volume and size, whose juxtaposition arouses emotion.’ The divers, in
fact, placed great importance in their definitions on the sensations, impressions and
emotions triggered by diving (21 out of 76 divers). These emotions are generally
pleasant ones and evoked in terms of ‘delight’, ‘unique’ or ‘intense pleasure’, arousing a sense of ‘wonder’ and ‘bliss.’ Strong emotions indeed, and sought after for their
rarity by divers, who express a desire to experience a sense of ‘freedom’, ‘splendour’
and ‘escape.’ (This, in turn, is reminiscent of the aesthetics of the sublime, to which
we will return later.) The beauty of the landscape is often referred to explicitly. Indeed, 7 divers described the underwater landscape in terms of its ‘beauty.’ Yet the
overriding feeling triggered was that of well-being, in association with the sense
of ‘peace’ and ‘tranquility’ of the underwater world, and the ‘pleasant’, ‘restful’,
‘appeasing’ and ‘relaxing’ nature of the divers’ time spent within it.
A further point worthy of note is the reference to what the eye may see, and to
the angle of vision the diver adopts in observing the landscape that this supposes.
This point is not mentioned systematically (only 20 out of 76 divers made specific
reference to it), despite the fact that the definition of the term ‘landscape’ implies an