As a 52-year-old academic and mother of three, this research explores the ethics of the question ‘do I have time to go skateboarding?’ Using the themes of time, injury, ageing and learning, it explores the question in relation to Simone de Beauvoir’s ethics of ambiguity. The approach employs autoethnographic and sensory methods to document the authors own experience of learning to skateboard in her late forties and uses learning to skateboard as a vehicle from which to consider time and (...) productivity. Embracing Beauvoir’s ethics of transcendence in navigating the psychological burden of ageing and informing the ongoing methodological approach required for making time to play, the author subverts ideas of progression and knowledge acquisition from childhood to adulthood and explores instead the converse transition from adult to child. The article draws conclusions about the value of lifelong learning and what expanded ideas about productivity mean for our ethical positioning in the world. How being in the skatepark together requires an ethical contract between skateboarders, an unambiguous ethics of being together where adhering to a system of unwritten rules means that everyone has enough space to stay safe. Risk and the time implications of injury are explored throughout in terms of the choices we make at different stages of our lives as we navigate a balance between personal desire and social good. (shrink)

Research on skateboarding has sought to define it, place it in a spatial-temporal schema, and analyse its social and cultural dimensions. We expand upon skateboarding’s relationship with time using the Marxist theorist Henri Lefebvre’s temporal science of Rhythmanalysis. With the disruption of urban social production of capital by the Covid-19 pandemic, we find skateboarding renewed in urban disjuncture from Capitalism and argue that this separation is central to its performance and culture. We propose that skateboarding is (...) arrhythmic: discordant, out of step, and disruptive of the more predictable rhythms of everyday production of capital. Drawing on Lefebvre’s concept of ‘arrhythmia’, we attempt re-conceive a beat and tempo of skateboarding: offbeat, juxtaposed, tilted, and contradictory. We emphasise that this discordance is not a malady but part of a broader beat ontology in skateboarding. This very discordance also raises questions about the continued incorporation of skateboarding into competitive sports, wellbeing, and prosocial paradigms and reminds theorists that skateboarding continues to be unkempt, subversive and tacitly political. (shrink)

Skateboarding has been a hallmark of adolescent experience in suburban America ever since its beginning in the 1950s. Skateboarding has become an underground subculture, providing the youth population a novel outlet for self-expression and independence. Transworld Skateboarding magazine displays the ideological characteristic of the skateboard movement through their unique populist syntext, distinctive signification system, and extensive textual convergence. However, while expressing adolescent resistance against homogeneity, the magazine also reflects the influence of popular culture on skateboarders. This idiosyncrasy (...) of Transworld Skateboarding magazine reflects popular culture’s constant struggle between the need for hegemonic provision and resistance of mainstream conformity. (shrink)

A reflection on the aesthetic status of some typical objects of everyday life, and the relationship we have with them, may originate from the development of “aesthetic experience” by John Dewey and Neopragmatism. The continuity between the common practices and aesthetic ones determines the significance of ordinary objects if they are linked to a project of enrichment and fulfillment of experience. A case that thematizes the richness of these practices in the contemporary world, and also the related theoretical and critical (...) problems, is the production of skateboards. An established artist like Damien Hirst collaborates with the NYC-based streetwear brand Supreme; a new London-based brand, Palace Skateboards, and Tate realize together a few skateboard and a video. (shrink)

Coach education is a learner-centred process, which often fails to consider the preferences of the consumer. Historically, research into performers’ experiences of coaching have been influenced by the social constructivism of learning: in short, an expressed preference for what the performer has experienced as determined by their coach, rather than their own personal preferences. Therefore, this research used skateboarding as a natural laboratory in order to explore the current practices and preferences of performers in a coach-free environment. Ninety-one skateboarders (...) from parks in the United Kingdom and New Zealand offered information relating to their current learning practices, how they learnt about learning, and how the top-level performers in their environment were differentiated. Findings suggest that a number of learning tools are used by performers, which are closely aligned with a more traditional, cognitive view of coaching. Results also suggest that performers deployed a number of cognitive skills to enhance storage of a movement as an internal representation. Finally, in the absence of formal coaching, performers use their knowledge of learning to appoint informal leaders. Implications for practice are discussed. (shrink)

Zusammenfassung Der Aufsatz untersucht am Beispiel der Skateboard-Praktik den Einfluss audiovisueller Medien auf die Produktion von Bewegungen und die Konstitution von Stil-Kulturen in neuen sportiven Prakti­ken. Der Zusammenhang von Bewegungen und Bildtechnologien wird als „intermediale Konstella­tion“ analysiert. Zeigen lässt sich, wie seit den 1970er Jahren der Gebrauch sich wan­delnder Medientechnologien nicht nur das Aneignen von Manövern beeinflusst und beschleunigt. Auch auf die Vergemeinschaftung der Teilnehmer zu stilistischen ‚Kulturen‘ hat diese Entwicklung erheblichen Einfluss, indem sie immer wieder neue AutorenInnen und Bildgenres (...) zulässt. Eine Zä­sur markiert der in den frühen 1980er Jahren durchgesetzte Videorekorder, auf dessen Basis sich das ‚klassische‘ Skateboard-Video etabliert: Die Praktik verbreitet sich in körperlicher Aneignung von „Rockvideos über Sport“, die zugleich Imagefilme von Jugendmarken sind. Dieser Prozess, so die These, platziert ihre Träger exakt im Schnittpunkt von Sport- und Popkultur - und macht die Skateboard-Praktik zu einer exemplarischen Selbsttechnik, in denen sich ab 1980 das „konsumatorische Kreativsubjekt“ der postmodernen Ordnung heranbildet. (shrink)

This article investigates the specific cultural and collaborative nature of China’s public spaces and how they are formed through performative appropriations. Collective cultural practices as political participation were encouraged during the Mao era when cultural activities played a key role in workers’ education and participation. Since the opening-up period, performance in public space has become widespread in China and creates alternative community spaces that constitute alternatives to capitalist spaces of consumption. Using Habermas’s theory of communicative action, we argue that cultural (...) practices performed in public space create a proletariat public sphere that plays a wider role in governance and China’s democratization. Further, the article examines performative practices in public space. It traces the popular activity of public square dancing through history and counters this research with a parallel study of a much younger skateboarding practice. The two practices are very differently rooted. Yet both practices appear to move through cycles of disruption and appropriation, followed by an affirmation of governmental rule. The studies reveal that western ideas of citizenship and individual leisure are less applicable. Public spaces are largely managed through collaborative practices, whereas contemporary scholarship reaffirms Fei Xiaotong’s description of Chinese society as individuals positioned within a complex network of concentric circles. (shrink)

What does everyone in the modern world need to know? Renowned psychologist Jordan B. Peterson's answer to this most difficult of questions uniquely combines the hard-won truths of ancient tradition with the stunning revelations of cutting-edge scientific research. Humorous, surprising and informative, Dr. Peterson tells us why skateboarding boys and girls must be left alone, what terrible fate awaits those who criticize too easily, and why you should always pet a cat when you meet one on the street. What (...) does the nervous system of the lowly lobster have to tell us about standing up straight (with our shoulders back) and about success in life? Why did ancient Egyptians worship the capacity to pay careful attention as the highest of gods? What dreadful paths do people tread when they become resentful, arrogant and vengeful? Dr. Peterson journeys broadly, discussing discipline, freedom, adventure and responsibility, distilling the world's wisdom into 12 practical and profound rules for life. [This book] shatters the modern commonplaces of science, faith and human nature, while transforming and ennobling the mind and spirit of its readers. (shrink)

Three public opinion studies examined public attitudes toward prevalence reduction (PR; reducing the number of people engaging in an activity) and harm reduction (HR; reducing the harm associated with an activity) across a wide variety of domains. Studies 1 and 2 were telephone surveys of California adults’ views on PR and HR strategies for a wide range of risk domains (heroin, alcoholism, tobacco, skateboarding, teen sex, illegal immigration, air pollution, and fast food). “Moral outrage” items (immoral, disgusting, irresponsible, dangerous) (...) predicted preference for PR over HR, with disgust the most important predictor. In contrast, preferences were not predicted by whether the risk behavior was common, no one else’s business, or harmless. Study 3 explored whether there are domains where liberals might reject HR. A sample of liberal students preferred HR > PR for heroin, but PR > HR for ritual female circumcision; path analysis suggested that this reversal was explained by moral outrage rather than consequentialist judgments of harm to self and harm to others. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Feminist Studies 46, no. 2. © 2020 by Feminist Studies, Inc. 489 Anna Romina Guevarra and Maya Arcilla The Source of Actual Terror: The Philippine Macho-Fascist Duterte  What is JUSTICE with the violence you’ve waged  What is FREEDOM? Our people are encaged  What is JUSTICE with the violence you’ve waged?  What is FREEDOM? Our people are encaged  We have nothing to lose—nothing but our (...) chains  We have nothing to lose—nothing but our chains  Ang tao, ang bayan—ngayon ay lumalaban  Ngayon ay lumalaban—ang tao ang bayan 1  We will, we will oust you!  We will, we will oust you! —Lyrics of a chant at a Chicago protest rally, July 8, 20202 On July 8, 2020, in front of the Philippine Consulate of Chicago, a group of activists representing multiple transnational organizations committed to the pursuit of democracy, participated in a Global Day of Action against an Anti-Terrorism Law (ATL) passed in the Philippines five days earlier. This particular rally was led by fierce student and community organizers and workers who loudly proclaimed their opposition to President Rodrigo Duterte’s misogynistic and fascist measures. The epigraph 1. The people, the nation—today they fight / Today they fight—the people, the nation. 2. Song written by Charmaine Balisalisa. 490 Anna Romina Guevarra and Maya Arcilla above captures the lyrics of one young activist’s chant directed at Duterte and choreographed to the tune of Queen’s “We will Rock You.” People followed her steps and gestures rhythmically and in unison, accompanying her chant with sounds from a gangsa (gong), bells, a skateboard tapping the ground, and an empty bucket. There have been multiple protests denouncing Duterte since he assumed power in 2016, but on this particular day, the sense of outrage and urgency was especially palpable in the face of this new law aimed at suppressing dissent. This legislation marked a high point in Duterte’s efforts to exert authoritarian control, and it is significant that opposition to his regime has taken on a specifically feminist character. The Philippines Anti-Terrorism Act of 2020 (Republic Act No. 11479), signed into law on July 3, 2020, amends the Philippines Human Security Act of 2007 by expanding the government’s power and scope for defining what constitutes “terrorism.” It consolidates power through the creation of an Anti-Terrorism Council (ATC) appointed by the President and empowered to act without oversight from the judiciary or legislature. The ATC can order mass arrests without warrants and detain individuals without due process for the mere suspicion of being involved in “terrorist” activities. This Law violates the Philippine Constitution’s Bill of Rights by eliminating free speech, violating the people’s right to privacy, and criminalizing individuals on suspicion of wrongdoing. As the law stipulates, anyone involved in “creating an atmosphere and spreading a message of fear” and “provoking or influencing by intimidation the government or any of its international organizations” will be construed as inciting terrorism. Indeed, this law will continue to erode democratic governance in the country, with some labeling it a “stealth declaration of martial law.”3 As US Congressional Representative Jan Schakowsky (D-IL) noted at the press conference she convened on July 15 to publicly call for the Anti-Terrorism Law’s repeal, “this law represents a new weapon in the administration’s campaign to suppress dissent and will worsen attacks on ordinary people.” 3. Jodesz Gavilan, “‘Stealth Declaration of Martial Law’: Rights Groups Slam Duterte, Anti-Terror Law,” Rappler, July 3, 2020, https://rappler.com/nation /human-rights-groups-statements-duterte-signing-anti-terror-law. Anna Romina Guevarra and Maya Arcilla 491 “A Timeline of Terror”: From “Pride is a Protest” and #JusticeForFabelPineda to #HandsOffGabriela4 A number of prominent feminists and queer rights activists have been targeted under President Duterte in the lead up to the passing of the ATL. On June 26, twenty LGBTQ activists representing Bahaghari, an LGBTQ+ rights organization in the Philippines, were arrested at a Pride rally. These protestors, referred to as the “Pride 20,” were speaking out against the ATL and were immediately arrested.5 A few days later, fifteen-year-old Fabel Pineda from San Juan Ilocos Sur was gunned... (shrink)

For many years, some urban architecture has aimed to exclude unwanted groups of people from some locations. This type of architecture is called “defensive” or “hostile” architecture and includes benches that cannot be slept on, spikes in the ground that cannot be stood on, and pieces of metal that hinder one’s ability to skateboard. These defensive measures have sparked public outrage, with many thinking such measures lead to suffering, are disrespectful, and violate people’s rights. In this paper, it is argued (...) that these views are difficult to defend and that much more empirical research on the topic is needed. (shrink)

Community acts of material signification are an important form of sculpture that occur through an exchange of human and non-human agents. First these acts of sculpture are discussed in relation to extended mind, the morphogenic model of making, material engagement theory and entanglement to frame how humans shape the world as collaborators with non-humans by extending mind through material. I then discuss various acts of community material accumulation that I consider sculpture, skateboarding and clay forming as evidence of extended (...) mind, comparison of the morphogenic to the hylomorphic model of making, occurrences of materials affecting other materials absent of human intervention and my recent participatory installation Stone Fruit. These topics are used to present a lens for understanding the production of sculpture as a collaboration with opposed to dictation on systems of materials, places and people. This lens, in turn, presents community sites of material accumulation to be an important form of sculpture production. (shrink)

For many years, some urban architecture has aimed to exclude unwanted groups of people from some locations. This type of architecture is called “defensive” or “hostile” architecture and includes benches that cannot be slept on, spikes in the ground that cannot be stood on, and pieces of metal that hinder one’s ability to skateboard. These defensive measures have sparked public outrage, with many thinking such measures lead to suffering, are disrespectful, and violate people’s rights. In this paper, it is argued (...) that these views are difficult to defend and that much more empirical research on the topic is needed. (shrink)

This volume contributes to postphenomenological research into human-technology relations with essays reflecting on methodological issues through empirical studies of education, digital media, biohacking, health, robotics, and skateboarding. This work provides new perspectives that call for a comprehensive postphenomenological research methodology.

In lieu of an abstract, here is a brief excerpt of the content:The Know-How of Musical PerformanceStephen DaviesMusicians make music; that is, the performance of music involves applied knowledge or know-how. Can we attain a discursive understanding of what the musician does, and does the attempt to achieve this put at risk the very art it aims to capture? In other words, what can be said of the nature of performance and does what we say turn a living practice into (...) a dead object? In this discussion, I aim to clarify the issues in terms of which these questions can be developed.Consider acquired practical knowledge or'knowing how.'1 It involves a learned skill or capacity to do something-typically, to perform an action-as in "I know how to ride a unicycle."2 'Knowing how'can be subdivided into types. A first variety is always conscious. For most people, mental arithmetic is of this kind. It is not mental arithmetic they are doing if they do not follow an appropriate rule, algorithm, procedure, or principle, even if they fluke the right answer. Many practical skills are of this sort. I know how to fill in tax forms, immigration documents, and hire purchase agreements. In all these cases, the working of the skill and the steps through which it is exercised are held inevitably before my mind. A second type of 'knowing how' might be termed "retrievable." I know how to drive a car. Most of the time, I am not aware of the processes, judgments, and procedures that are [End Page 154] involved. I do not have to think about my driving as I drive. Nevertheless, if I reflect on what I do, I can describe the steps or routines I go through. A third type of 'knowing how' is cognitively impenetrable. Cognitively impenetrable processes are opaque to introspection. Some bit of neurological hardware receives an input, processes it, and outputs some result, but the nature of that processing is not retrievable by consciousness. The skill is learned but the many computational, muscular, kinaesthetic, or other activities involved in the skill's application or execution are not available to the agent's awareness. From my own case, typical examples are of knowing how to walk, how to pick up a glass, and how to speak English.3 When a person intends to perform an action of this kind, he aims at it directly, as it were. He intends to turn his skateboard to the left, say, not to flex this muscle here and so. He can intend to produce a certain action as output, but the intermediate steps and movements involved in this, to the extent that they are controlled in an irretrievable fashion, are not what he can intend. Similarly, where 'knowing how' is retrievable but automatic, the action is intended directly. The intermediary steps and movements are not what are intended so long as the action remains automatic.In what ways is practical knowledge acquired? In some cases it can be learned from verbal descriptions of the appropriate basic actions and their sequences-"put the left leg in and shake it all about"-or of the relevant rules or algorithms-"multiply by π r2." In others, learning is by example, copying, or experimenting. Some procedures work better for some skills than others. Generally speaking, when we encourage children and stroke victims to walk we do not provide them with examples. By contrast, language skills are often conveyed via paradigm instances. And while it is possible to learn to drive a plane from an instruction manual alone, one is more likely to be successful by following and being assisted by an instructor. Always conscious skills are often acquired by memorizing the procedure or rule that must be kept in mind, whereas automatic but retrievable skills, because their application is unconscious, are usually acquired through physical repetition until the routine becomes unthinking. Nevertheless, even cognitively impenetrable skills might be learned by first following written instructions. What makes the skill impenetrable is not the method by which it is acquired but the inability to recall or describe the relevant steps, rules, or procedures when the skill is entrenched.4A given skill might be cognitively impenetrable for... (shrink)

Social justice needs a home, a place where it can be found, especially for young people growing up in fragmented and increasingly inequitable societies. Community youth arts organizations have secured a certain prominence in this context over the past three decades and are now part of the urban infrastructures that shape connected learning networks in highly industrialized nations. In this capacity, youth arts organizations regularly engage a language and aesthetics of authenticity and trust as part of how they call out, (...) represent and make a home for children and youth. This paper examines how authenticity in youth culture and youth cultural expression is negotiated by arts organizations and how organizations locate their own trustworthiness as allies of young people through the curation of online media archives. The analysis draws on the internet media archives of two youth arts organizations in Canada’s largest English-speaking cities. The Oasis Skateboard Factory in Toronto, ON is an extension program of the Toronto District School Board that enables participants to create their own brands and learn to run a skateboard or professional design business. ReelYouth started in Vancouver in 2005 as a community media empowerment project, and now delivers programs across Canada and internationally.The claims to youth authenticity articulated in each media archive reveal how authenticity and trust are negotiated ideologically by each organization and how organizations mark their ontological status, as a home from which young people can think and respond to an unjust world. I examine how youth authenticity is produced by analyzing how discourses of youth identity, connection and trust are deployed across each archive. Whilst showcasing how authenticity is negotiated by each group, I show how the production of authenticity discourses by OSF and ReelYouth simultaneously convey a deeper reality: the way youth arts groups operate as care structures that offer ontological security, and places of increasing “awareness of previously unnoticed interconnections” for youth. In this way, they operate as sites of border work, places of routing from which the work of social justice can be borne. (shrink)