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robertogreco : meaninglessness   5

Toward a Poetics of Skateboarding | The American Reader
"But for all of its private jargon, skateboarding’s poetry has never been linguistic. It is forever embodied and also, though this is difficult to speak of seriously, spiritual. How else to explain its appearance in Uganda without even a single retail outlet to support it? In fact, the only conveyable language of skateboarding, outside of participation and socialization in the activity itself, has always been spoken through film.

In broad terms, skate media splits time between documentation and advertisement, and their commercial evolution has skewed ever more crass and spectacular. Recent work from select video artists, however, attempts to confront the activity’s basic mystery and meaningful meaninglessness. Non-skateboarders have tended not to look very closely at these films. They mostly do not care. Skateboarders meanwhile care far too much to care exactly why. In any case, it’s here that an attempt toward a poetics of skateboarding must begin."



"Nor can we call such an effort unselfish. My own struggle with the mystery of skateboarding began five years ago, fifteen after I first stepped onto a board, when I began work on my second novel. The problem I encountered was that none of skateboarding’s confectionary can or should be dismissed. Speaking technically and contra Ian Mackaye, skateboarding today is a sport and a hobby both, along with countless other things: a therapy, an obsession, a conservative anti-drug. In its basic meaninglessness, skateboarding has become the tool that takes the shape of whoever’s hand it’s in."



"What in those first years had fit awkwardly into a de facto rubric of athletics—a sport to be timed and judged for athletic merit—became in the 1970s something more rhetorical. The ethos was the punk scavenging of revolution by way of repurposing. Whatever prefigurations of the object we had seen, never before had they been deployed creatively. To speak in China Mieville’s terms, what emerged was something counterposed to the comfort of the uncanny. The activity, new, unrecognized, and bounded only by imagination, was abcanny."



"While the basic spirit of skateboarding might have remained constant since the addition of polyurethane, the marketplace around it quite obviously has not. Now and once again the importance of skateboarding in our time is on the increase. Today, it is on Fox. It is on ESPN with real-time algorithms for evaluating tricks. Once more the marketplace would have us comprehend skateboarding as a sport.

We know on first glance that skateboarding, in its dominant form of street activity, stands apart from ball and net athletics. It seems uninterested, too, in velocity and stopwatch performances. But the first challenge to the rubric of sport begins even lower, at a semiotic level. You and I could, if we wanted, go and shoot lazy jumpshots on a netless schoolyard hoop, or go to the driving range and smack buckets of balls into the green void. We can take our gloves to the park and throw grounders and pop flies and apply tags to invisible runners. But for any of these to qualify as “basketball,” “golf,” or “baseball,” we would require the structure of competition and order of rules.

Systems such as these have no bearing on skateboarding, of which even the most negligible acts, no matter how brief or private, simply are skateboarding. Consider: between my home and the nearest skatepark is a well-paved boulevard with sewer caps embedded into the blacktop every half block or so. A source of joy for me is to push down this boulevard and pop tiny ollies over these sewer caps, sometimes barely scraping my tail, other times popping hard and pulling my knees up to my chest. These are not tricks proper, just ways to see and engage with the street’s reality. This is not, as athletes might call it, practice; I am not training for a future event. It is travel, yes, but the joy has little to do with the scenery or distance covered. In the purview of skate competition, this pushing down the boulevard, the single most fun I have in any given day, is not a scorable act of skateboarding. It is worth zero and it is worth everything.

In a world increasingly data-driven and surveilled, skateboarding lives beneath scoring and resists all datazation by establishing everything as a performance. It deflects the surveillance state by its primal devotion to documenting and sharing itself, monitoring every possible development, repetition, and failure. It pre-empts the onslaught of observation by embracing it. To pre-empt is to deflect, but also to admit defeat. Luckily, skateboarders are shameless—in this way, they’re the perfect actors to play the role of themselves.

Our potential heuristic now approaches what literary and cultural theorists today speak of, with a smirk, as the so-called authentic self. But a skater, whether standing on his stage, behind a camera, or at a keyboard, sees and thinks and performs precisely as what and who he is. What other memberships function in this or a similar manner? Parenthood. Romantic partnership. Citizenship. Does artistry?

***

To date, the most complete attempt to theorize skateboarding has been Iain Borden’s Skateboarding, Space and the City: Architecture and the Body (Berg, 2001). Borden, a Professor of Architecture and Urban Culture at The Bartlett, University College London, treats the activity of skateboarding as a Lefebvrian practice with a potential to become its own sort of architecture: not of construction, but by the “production of space, time, and social being.” He traces the history of skateboarding into the 1990s’ street skating movement, and speaks of the way this “oppositional subculture” rethinks architecture “as a set of discrete features and elements…recomposing it through new speeds, spaces and times.” The gears of capitalism create spaces in which behavior is prescribed and easily accounted for. Skateboarding’s opposition is thus a compositional process, partially of the individual body, which is recomposed against the “intense scopic determinations of modernist space,” and partially of a deeper critique of urban life: “production not as the production of things but of play, desires and actions.”"



"By contrast, today’s most compelling skateboarding films aim to capture not only the play of skateboarding, but enact what Borden calls the “positive dialectic that restlessly searches for new possibilities of representing, imagining and living our lives.” The “Panoramic Series” from Philip Evans, for example, relieves the actor from the full burden of attention. Here Evans follows Phil Zwijsen through his hometown of Antwerp:"



"The skater, Austyn Gillette, appears only after the environmental context, resulting in a portrait not of one or the other, but both. The subject is, as skateboarding’s always has been in practice, the interactions between city and individual body. Alongside recent work by Mike Manzoori, Evan Schiefelbine and select others, these films find energy beyond the progressive trickery of athletics, or the documentation of extant geographies. They combine the skateboarder’s practice—creative, productive—with a distinctly non-skateboarding meta-awareness of the activity’s potential for meaning. Their grounding within the geist of skateboarding is obvious: there is nothing a skater spots more quickly than the fraud, or tourist. These are films made by skateboarders who have lived within the activity’s world, and who choose to leverage the activity as a tool to understand itself. How long, they ask, must a toy endure before it becomes something else? What does it become, and does this mean it has ceased to be a toy?"



"Roberto Bolaño called surrealism “something convulsive and vague, that familiar amorphous thing.” If indeed there is ever to be a poetics of skateboarding, familiarity will have to play a role. Suvin argued that science fiction’s value lay in its ability to effect cognitive estrangement. Campbell’s film documents and creates ostranenie by the re-presentation of a familiar world as captured by, and portrayed through, the glance of the radical dreamer. In fact, what Cuatros does better than any film I’ve seen is remind us that skateboarding’s heuristic usefulness is ontological. Its topos is not that there is a world inside the world, but rather: there is a world the exact shape and texture of the world that you know laid seamlessly over top of it, and you, for some reason, fail to see how beautiful it can be.

Convulsive, vague, and conveyed by slidy looks. Campbell’s subject is our ineffable, binding thing, that lurking, trembling essence that he can only render by images and motions of the surreal. The artist whose art was born from skateboarding has made an object about skateboarding that conveys this birth and mode of being. Skateboarding infects the filmmaker infects the musicians infects the viewer. Viewer goes out skating. Skateboarding is self-perpetuating in this way. It is always itself and something else, it is infectious, it is comprehensive and sublatable to the core. This is how the infinite comes to be—once born, skateboarding can never now die.

But the dreamscape of Cuatros Sueños Pequeños is not an expression of this infinity. Rather, it is mimetic. What world is this?, asks the skateboarder. A familiar one we have seen so many times that it’s rendered unseeable. More importantly, what is to be done in it? The answer, like Campbell’s film, is incoherent, and thank goodness. The answer is anything at all."
skating  skateboarding  skateboards  quantification  measurement  urban  urbanism  surveillance  iainborden  meaning  film  video  robertobolaño  thomascampbell  cuatrosueñospequeños  performance  datazation  repetition  monitoring  failure  documentation  process  capitalism  henrilefebvre  space  place  play  culture  movement  infectiousness  inspiration  feral  ecosystems  socialbeing  time  architecture  landscape  kylebeachy  understanding  experience  robertzemeckis  pontusalv  punk  metrics  schematics  markets  poetics  filmmaking  darkosuvin  sciencefiction  ianmackaye  technology  history  circumstance  california  socal  sports  chinamieville  abcanny  zines  creativity  competition  commercialization  commercialism  commoditization  diy  systems  rules  revolution  resistance  practice  authenticity  artistry  philipevans  philzwijsen  colinkennedy  stasis  motion  austyngillette  mikemanzoori  evanschiefelbine  javiermendizabal  madarsapse  dondelillo  cities  meaninglessness  participation  participatory  democracy  tribes  belonging  identity  spirituality  social  socializati 
july 2014 by robertogreco
Existential Depression in Gifted Children | The Unbounded Spirit
"It is such existential issues that lead many of our gifted individuals to bury themselves so intensively in “causes” (whether these causes are academics, political or social causes, or cults). Unfortunately, these existential issues can also prompt periods of depression, often mixed with desperate, thrashing attempts to “belong.” Helping these individuals to recognize the basic existential issues may help, but only if done in a kind and accepting way. In addition, these youngsters will need to understand that existential issues are not ones that can be dealt with only once, but rather ones that will need frequent revisiting and reconsideration."
depression  existentialism  structure  life  psychology  children  meaning  meaninglessness  gifted  potential  purpose  isolation  failure  aloneness  via:litherland 
july 2013 by robertogreco
L'Hôte: the resentment machine
"They have been raised to compete, & endlessly conditioned to measure themselves against their peers, but they have done so in an environment that denies this reality while it creates it.…

…no surprise that the urge to rear winners trumps urge to raise artists. But the nagging drive to preach the value of culture does not go unnoticed…

…culture in which they have been raised has denied them any other framework w/ which to draw meaning…

Part of the cruel genius of capitalism lies in its ability to make all activity w/in it seem natural & inevitable…

…the role of the resentment machine: to amplify meaningless differences and assign to them vast importance for the quality of individuals. For those who are writing the most prominent parts of the Internet-- the bloggers, the trendsetters, the uber-Tweeters, the tastemakers, the linkers, the creators of memes and online norms-- online life is taking the place of the creation of the self, and doing so poorly."

[Also here: http://thenewinquiry.com/post/12473769143/the-resentment-machine ]
resentmentmachine  internet  life  meaning  capitalism  latecapitalism  purpose  values  2011  parenting  culture  creativity  creation  making  doing  consuming  materialism  tcsnmy  schooling  education  unschooling  deschooling  society  resentment  cv  wisdom  definitionofself  via:danmeyer  tastemakers  criticism  whatmatters  humanity  competition  racetothetop  winners  art  leisurearts  meaningmaking  meaninglessness  differences  artleisure 
october 2011 by robertogreco
Slavoj Žižek · Shoplifters of the World Unite · LRB 19 August 2011
"Alain Badiou has argued that we live in a social space which is increasingly experienced as ‘worldless’: in such a space, the only form protest can take is meaningless violence. Perhaps this is one of the main dangers of capitalism: although by virtue of being global it encompasses the whole world, it sustains a ‘worldless’ ideological constellation in which people are deprived of their ways of locating meaning. The fundamental lesson of globalisation is that capitalism can accommodate itself to all civilisations, from Christian to Hindu or Buddhist, from West to East: there is no global ‘capitalist worldview’, no ‘capitalist civilisation’ proper. The global dimension of capitalism represents truth without meaning…

both conservative & liberal reactions to unrest are inadequate…

Zygmunt Bauman characterised the riots as acts of ‘defective and disqualified consumers’: more than anything else, they were a manifestation of a consumerist desire violently enacted when unable to realise itself in the ‘proper’ way – by shopping. As such, they also contain a moment of genuine protest, in the form of an ironic response to consumerist ideology: ‘You call on us to consume while simultaneously depriving us of the means to do it properly – so here we are doing it the only way we can!’ The riots are a demonstration of the material force of ideology – so much, perhaps, for the ‘post-ideological society’. From a revolutionary point of view, the problem with the riots is not the violence as such, but the fact that the violence is not truly self-assertive. It is impotent rage and despair masked as a display of force; it is envy masked as triumphant carnival…

fatal weakness of recent protests: they express an authentic rage which is not able to transform itself into a positive programme of sociopolitical change…express a spirit of revolt w/out revolution."
zizek  uk  london  violence  politics  left  right  liberals  conservatives  meaning  meaninglessness  revolution  spain  greece  purpose  capitalism  policy  2011  españa 
august 2011 by robertogreco
Boredom Can Fuel Hostility Toward Outsiders - Miller-McCune
"New research explains how feelings of boredom can both strengthen solidarity within your in-group and heighten hostility toward outsiders."

[via: http://stevemiranda.wordpress.com/2011/08/19/fascinating-study-on-the-impact-of-boredom-on-peoples-behavior/ ]
boredom  hostility  meaning  meaninglessness  2011  research 
august 2011 by robertogreco

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