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robertogreco : skating   73

“Minding the Gap,” Reviewed: A Self-Questioning Documentary About What Happened to a Group of Young Skaters | The New Yorker
[Carol Black: https://twitter.com/cblack__/status/1052995478583836672

2-step lesson for teachers:

1. Watch this documentary about the kids who will NEVER adapt well to authoritarian environments like school. https://www.youtube.com/watch?v=n5Vm_Awe3bw

2. Read how this skater kid learned to make brilliant films through self-directed learning, mentorships, discovery.

Through a slow process of experimentation, improvisation, exploration, director Bing Liu evolved from a skater kid with a video camera into a deep, accomplished filmmaker. https://www.newyorker.com/culture/the-front-row/minding-the-gap-reviewed-a-self-questioning-documentary-about-what-happened-to-a-group-of-young-skaters
As a teen-ager, a decade ago, in the small city of Rockford, Illinois, Bing Liu filmed himself and his friends skateboarding. He shot much of his footage while skating alongside them, and, as a result, the skating sequences of his documentary “Minding the Gap” (which opens today in theatres and streams on Hulu) have a surging, gliding, soaring, joyously speedy energy that offers a hypnotic whirl and rush. Those images of skating, however, are merely the background and context for the film, and the diverting thrill that they offer is crucial to the film’s substance. That substance—domestic trauma, systemic racism, and economic dislocation—is also the very stuff of society, and the near-at-hand intimacy gives rise to a film of vast scope and political depth.

Allowing his film to unfold over years of shooting and editing and re-editing, Liu uncovered the hidden depth and dimension in his subject matter.
https://www.newyorker.com/culture/the-front-row/minding-the-gap-reviewed-a-self-questioning-documentary-about-what-happened-to-a-group-of-young-skaters
“Minding the Gap” builds Liu’s investigations, and the personal and ethical considerations that they entail, into the film. What he discovers—and films—of his friends’ present-day lives disturbs him, and Liu grapples with his own conflicts even while filming himself grappling with them. The details of the film make for an exemplary work of reporting. Liu’s clear revelation of specific yet complex events brings out psychological causality and logical connections but doesn’t impose a narrative; rather, the drama crystallizes as the events unfold. It’s a documentary in which the very nature of investigation is established—intellectually, aesthetically, and morally—by way of the personal implication of the filmmaker in the subject, of the filmmaker’s own need to make the images, to talk with the participants, to get beyond the surfaces of the settings. “Minding the Gap” is a personal documentary of the highest sort, in which the film’s necessity to the filmmaker—and its obstacles, its resistances, its emotional and moral demands on him—are part of its very existence.

Learning technical skills from online forums and by emulating filmmakers who inspired him, Liu was then able to allow the personal, emotional story to emerge. https://filmmakermagazine.com/105737-i-had-a-moral-crisis-bing-liu-on-minding-the-gap-personal-doc-voiceovers-and-cycles-of-abuse/#.W8i8by-ZMWo
Filmmaker: I had seen part of a cut that you had about a year ago. What I remember is, there was a lot more voiceover and the structure was different. There was a scene in the first ten minutes where you’re going to meet your mom to do the interview about you being abused by your stepfather, and you’re being interviewed in the car on the way: “So how do you feel about this?” At a certain point, obviously a lot of those things changed. Documentary editing processes are inherently long and complicated, but I’d love it if you could talk about thinking through some of those changes.

Liu: I didn’t begin the film wanting to be in the film. My background is, I got a camera to make videos when I was 14. I watched movies that inspired me, like Waking Life, Kids and Gummo. Some of my first shorts when I was a teen were this sort of Slacker plot where I follow people around Rockford as they interact with each other. The structure is based off of hand-offs, to give you a slice of community and the people in it. Anyway, I learned cinematography and editing through going to forums. There’s this website called Skate Perception that was kind of the Reddit for skate media makers all over the country. This was in the 2000s, when the internet was still finding its identity in many ways. It no longer exists; forums aren’t really a thing, for the most part.

“I didn’t go to film school, because everybody that I worked with in film was like: if you go to school, don’t go to school for film.” https://nofilmschool.com/2018/08/minding-gap-bing-liu-interview
NFS: How did you develop your unconventional aesthetics over time, starting from such a young age?

Liu: It was a mix of just emulating other creators and films that I was watching and also just going online and learning. By the time I was 16, I had a camera that I could set exposure and color temperature and with ND filters on it. By the time I was 17, I had a 24p camera and I was building my own dollies, so it was sort of just like exploring and emulation of what was happening at the time, which was a mix of the internet connecting more people, and also the DIY-style filmmaking that was growing with the advent of DSLR shooting video. I never really saw a career in film as a viable thing. I thought making films was just what I did.
"The Glidecam was freeing because you can run down stairs when you get good enough at it, and even jump over things with the cameras."

NFS: How did you transition to realizing that you could actually do this professionally?

Liu: It was when I got a job as a PA when I was 19 and I was like, “Oh, I can get paid $50 a day to like fetch coffee and carry heavy camera cases around for 14 hours.” It was less about the $50 and more about the “Oh, you can do this.”

NFS: That's what we're always telling people who want to break into the business: just get on set.

Liu: Yeah, I didn't go to film school, because everybody that I worked with in film was like: if you go to school. don't go to school for film, and so I went to school for literature.
]
bingliu  mindingthegap  film  filmmaking  documentary  srg  unschooling  deschooling  authority  authoritarianism  school  schooling  schools  learning  skating  skateboarding  self-directed  self-directedlearning  howwelearn  canon  video  domesticviolence  2018  carolblack  teaching  howweteach  schooliness  online  internet  web  domestictrauma  economics  rustbelt  society  childabuse  children  teens  youth  streetculture  illinois  rockford  friendship  parenting  dropouts  aesthetics  filmschool  emulation  cinematography 
october 2018 by robertogreco
'Minding the Gap': How Bing Liu Turned 12 Years of Skate Footage into the Year's Most Heartfelt Doc
[Carol Black: https://twitter.com/cblack__/status/1052995478583836672

2-step lesson for teachers:

1. Watch this documentary about the kids who will NEVER adapt well to authoritarian environments like school. https://www.youtube.com/watch?v=n5Vm_Awe3bw

2. Read how this skater kid learned to make brilliant films through self-directed learning, mentorships, discovery.

Through a slow process of experimentation, improvisation, exploration, director Bing Liu evolved from a skater kid with a video camera into a deep, accomplished filmmaker. https://www.newyorker.com/culture/the-front-row/minding-the-gap-reviewed-a-self-questioning-documentary-about-what-happened-to-a-group-of-young-skaters
As a teen-ager, a decade ago, in the small city of Rockford, Illinois, Bing Liu filmed himself and his friends skateboarding. He shot much of his footage while skating alongside them, and, as a result, the skating sequences of his documentary “Minding the Gap” (which opens today in theatres and streams on Hulu) have a surging, gliding, soaring, joyously speedy energy that offers a hypnotic whirl and rush. Those images of skating, however, are merely the background and context for the film, and the diverting thrill that they offer is crucial to the film’s substance. That substance—domestic trauma, systemic racism, and economic dislocation—is also the very stuff of society, and the near-at-hand intimacy gives rise to a film of vast scope and political depth.

Allowing his film to unfold over years of shooting and editing and re-editing, Liu uncovered the hidden depth and dimension in his subject matter.
https://www.newyorker.com/culture/the-front-row/minding-the-gap-reviewed-a-self-questioning-documentary-about-what-happened-to-a-group-of-young-skaters
“Minding the Gap” builds Liu’s investigations, and the personal and ethical considerations that they entail, into the film. What he discovers—and films—of his friends’ present-day lives disturbs him, and Liu grapples with his own conflicts even while filming himself grappling with them. The details of the film make for an exemplary work of reporting. Liu’s clear revelation of specific yet complex events brings out psychological causality and logical connections but doesn’t impose a narrative; rather, the drama crystallizes as the events unfold. It’s a documentary in which the very nature of investigation is established—intellectually, aesthetically, and morally—by way of the personal implication of the filmmaker in the subject, of the filmmaker’s own need to make the images, to talk with the participants, to get beyond the surfaces of the settings. “Minding the Gap” is a personal documentary of the highest sort, in which the film’s necessity to the filmmaker—and its obstacles, its resistances, its emotional and moral demands on him—are part of its very existence.

Learning technical skills from online forums and by emulating filmmakers who inspired him, Liu was then able to allow the personal, emotional story to emerge. https://filmmakermagazine.com/105737-i-had-a-moral-crisis-bing-liu-on-minding-the-gap-personal-doc-voiceovers-and-cycles-of-abuse/#.W8i8by-ZMWo
Filmmaker: I had seen part of a cut that you had about a year ago. What I remember is, there was a lot more voiceover and the structure was different. There was a scene in the first ten minutes where you’re going to meet your mom to do the interview about you being abused by your stepfather, and you’re being interviewed in the car on the way: “So how do you feel about this?” At a certain point, obviously a lot of those things changed. Documentary editing processes are inherently long and complicated, but I’d love it if you could talk about thinking through some of those changes.

Liu: I didn’t begin the film wanting to be in the film. My background is, I got a camera to make videos when I was 14. I watched movies that inspired me, like Waking Life, Kids and Gummo. Some of my first shorts when I was a teen were this sort of Slacker plot where I follow people around Rockford as they interact with each other. The structure is based off of hand-offs, to give you a slice of community and the people in it. Anyway, I learned cinematography and editing through going to forums. There’s this website called Skate Perception that was kind of the Reddit for skate media makers all over the country. This was in the 2000s, when the internet was still finding its identity in many ways. It no longer exists; forums aren’t really a thing, for the most part.

“I didn’t go to film school, because everybody that I worked with in film was like: if you go to school, don’t go to school for film.” https://nofilmschool.com/2018/08/minding-gap-bing-liu-interview
NFS: How did you develop your unconventional aesthetics over time, starting from such a young age?

Liu: It was a mix of just emulating other creators and films that I was watching and also just going online and learning. By the time I was 16, I had a camera that I could set exposure and color temperature and with ND filters on it. By the time I was 17, I had a 24p camera and I was building my own dollies, so it was sort of just like exploring and emulation of what was happening at the time, which was a mix of the internet connecting more people, and also the DIY-style filmmaking that was growing with the advent of DSLR shooting video. I never really saw a career in film as a viable thing. I thought making films was just what I did.
"The Glidecam was freeing because you can run down stairs when you get good enough at it, and even jump over things with the cameras."

NFS: How did you transition to realizing that you could actually do this professionally?

Liu: It was when I got a job as a PA when I was 19 and I was like, “Oh, I can get paid $50 a day to like fetch coffee and carry heavy camera cases around for 14 hours.” It was less about the $50 and more about the “Oh, you can do this.”

NFS: That's what we're always telling people who want to break into the business: just get on set.

Liu: Yeah, I didn't go to film school, because everybody that I worked with in film was like: if you go to school. don't go to school for film, and so I went to school for literature.
]
bingliu  mindingthegap  film  filmmaking  documentary  srg  unschooling  deschooling  authority  authoritarianism  school  schooling  schools  learning  skating  skateboarding  self-directed  self-directedlearning  howwelearn  canon  video  domesticviolence  2018  carolblack  teaching  howweteach  schooliness  online  internet  webapps  domestictrauma  economics  rustbelt  society  childabuse  children  teens  youth  streetculture  illinois  rockford  friendship  parenting  dropouts  aesthetics  filmschool  emulation  cinematography 
october 2018 by robertogreco
“I Had a Moral Crisis”: Bing Liu on Minding the Gap, Personal Doc Voiceovers and Cycles of Abuse | Filmmaker Magazine
[Carol Black: https://twitter.com/cblack__/status/1052995478583836672

2-step lesson for teachers:

1. Watch this documentary about the kids who will NEVER adapt well to authoritarian environments like school. https://www.youtube.com/watch?v=n5Vm_Awe3bw

2. Read how this skater kid learned to make brilliant films through self-directed learning, mentorships, discovery.

Through a slow process of experimentation, improvisation, exploration, director Bing Liu evolved from a skater kid with a video camera into a deep, accomplished filmmaker. https://www.newyorker.com/culture/the-front-row/minding-the-gap-reviewed-a-self-questioning-documentary-about-what-happened-to-a-group-of-young-skaters
As a teen-ager, a decade ago, in the small city of Rockford, Illinois, Bing Liu filmed himself and his friends skateboarding. He shot much of his footage while skating alongside them, and, as a result, the skating sequences of his documentary “Minding the Gap” (which opens today in theatres and streams on Hulu) have a surging, gliding, soaring, joyously speedy energy that offers a hypnotic whirl and rush. Those images of skating, however, are merely the background and context for the film, and the diverting thrill that they offer is crucial to the film’s substance. That substance—domestic trauma, systemic racism, and economic dislocation—is also the very stuff of society, and the near-at-hand intimacy gives rise to a film of vast scope and political depth.

Allowing his film to unfold over years of shooting and editing and re-editing, Liu uncovered the hidden depth and dimension in his subject matter.
https://www.newyorker.com/culture/the-front-row/minding-the-gap-reviewed-a-self-questioning-documentary-about-what-happened-to-a-group-of-young-skaters
“Minding the Gap” builds Liu’s investigations, and the personal and ethical considerations that they entail, into the film. What he discovers—and films—of his friends’ present-day lives disturbs him, and Liu grapples with his own conflicts even while filming himself grappling with them. The details of the film make for an exemplary work of reporting. Liu’s clear revelation of specific yet complex events brings out psychological causality and logical connections but doesn’t impose a narrative; rather, the drama crystallizes as the events unfold. It’s a documentary in which the very nature of investigation is established—intellectually, aesthetically, and morally—by way of the personal implication of the filmmaker in the subject, of the filmmaker’s own need to make the images, to talk with the participants, to get beyond the surfaces of the settings. “Minding the Gap” is a personal documentary of the highest sort, in which the film’s necessity to the filmmaker—and its obstacles, its resistances, its emotional and moral demands on him—are part of its very existence.

Learning technical skills from online forums and by emulating filmmakers who inspired him, Liu was then able to allow the personal, emotional story to emerge. https://filmmakermagazine.com/105737-i-had-a-moral-crisis-bing-liu-on-minding-the-gap-personal-doc-voiceovers-and-cycles-of-abuse/#.W8i8by-ZMWo
Filmmaker: I had seen part of a cut that you had about a year ago. What I remember is, there was a lot more voiceover and the structure was different. There was a scene in the first ten minutes where you’re going to meet your mom to do the interview about you being abused by your stepfather, and you’re being interviewed in the car on the way: “So how do you feel about this?” At a certain point, obviously a lot of those things changed. Documentary editing processes are inherently long and complicated, but I’d love it if you could talk about thinking through some of those changes.

Liu: I didn’t begin the film wanting to be in the film. My background is, I got a camera to make videos when I was 14. I watched movies that inspired me, like Waking Life, Kids and Gummo. Some of my first shorts when I was a teen were this sort of Slacker plot where I follow people around Rockford as they interact with each other. The structure is based off of hand-offs, to give you a slice of community and the people in it. Anyway, I learned cinematography and editing through going to forums. There’s this website called Skate Perception that was kind of the Reddit for skate media makers all over the country. This was in the 2000s, when the internet was still finding its identity in many ways. It no longer exists; forums aren’t really a thing, for the most part.

“I didn’t go to film school, because everybody that I worked with in film was like: if you go to school, don’t go to school for film.” https://nofilmschool.com/2018/08/minding-gap-bing-liu-interview
NFS: How did you develop your unconventional aesthetics over time, starting from such a young age?

Liu: It was a mix of just emulating other creators and films that I was watching and also just going online and learning. By the time I was 16, I had a camera that I could set exposure and color temperature and with ND filters on it. By the time I was 17, I had a 24p camera and I was building my own dollies, so it was sort of just like exploring and emulation of what was happening at the time, which was a mix of the internet connecting more people, and also the DIY-style filmmaking that was growing with the advent of DSLR shooting video. I never really saw a career in film as a viable thing. I thought making films was just what I did.
"The Glidecam was freeing because you can run down stairs when you get good enough at it, and even jump over things with the cameras."

NFS: How did you transition to realizing that you could actually do this professionally?

Liu: It was when I got a job as a PA when I was 19 and I was like, “Oh, I can get paid $50 a day to like fetch coffee and carry heavy camera cases around for 14 hours.” It was less about the $50 and more about the “Oh, you can do this.”

NFS: That's what we're always telling people who want to break into the business: just get on set.

Liu: Yeah, I didn't go to film school, because everybody that I worked with in film was like: if you go to school. don't go to school for film, and so I went to school for literature.
]
bingliu  mindingthegap  film  filmmaking  documentary  srg  unschooling  deschooling  authority  authoritarianism  school  schooling  schools  learning  skating  skateboarding  self-directed  self-directedlearning  howwelearn  canon  video  domesticviolence  2018  carolblack  teaching  howweteach  schooliness  online  internet  web  domestictrauma  economics  rustbelt  society  childabuse  children  teens  youth  streetculture  illinois  rockford  friendship  parenting  dropouts  aesthetics  filmschool  emulation  cinematography 
october 2018 by robertogreco
Keire Johnson en Instagram: “Shout out @finhan_ for making this after watching Minding the Gap! What I take from this piece (personally) : The paper bag over the…”
"Shout out @finhan_ for making this after watching Minding the Gap!
What I take from this piece (personally) : The paper bag over the skater's face to me represents how skateboarding suppresses all the negative emotions you can feel growing up and acts almost as a cloak of some sort.

When you take the bag off after skating, all of the bullshit comes back to you. Skateboarding cures heartache however it has limited powers. It can't cure everything.

That's where other creative outlets come in.
Music, art, dance, writing, and ect.
I am luck enough to have multiple outlets but I recommend finding a creative outlet that works for you. It's good for you.
Thanks again @finhan_"
keirejohnson  skateboarding  skating  2018  adolescence  youth  teens  self-medication  escape  creativity  music  art  arts  dance  writing  outlets  identity 
september 2018 by robertogreco
Skate Kitchen Official Trailer - Starring The Skate Kitchen and Jaden Smith - YouTube
"In the first narrative feature from The Wolfpack director Crystal Moselle, Camille, an introverted teenage skateboarder (newcomer Rachelle Vinberg) from Long Island, meets and befriends an all-girl, New York City-based skateboarding crew called Skate Kitchen. She falls in with the in-crowd, has a falling-out with her mother, and falls for a mysterious skateboarder guy (Jaden Smith), but a relationship with him proves to be trickier to navigate than a kickflip.

Writer/director Crystal Moselle immersed herself in the lives of the skater girls and worked closely with them, resulting in the film's authenticity, which combines poetic, atmospheric filmmaking and hypnotic skating sequences. SKATE KITCHEN precisely captures the experience of women in male-dominated spaces and tells a story of a girl who learns the importance of camaraderie and self-discovery.

In theaters August 10th.
http://www.skatekitchenfilm.com/ "
skateboarding  skating  women  girls  towatch  2018  thewolfpack  crystalmoselle  rachellevinberg  theskatekitchen  film  self-discovery  jadensmith 
august 2018 by robertogreco
How teen-focused design can help reshape our cities - Curbed
"Sometimes it seems like there is nowhere for teens to be. Here’s what they are doing about it"



"A decade ago, skateparks also tended to be bounded, purpose-built environments that skaters nicknamed “exercise yards.” Today the boundaries are often more fluid, at least between a public park and the skate park. In Tacoma, rather than a 10,000-square-foot skatepark, the city built a few skate spots in a park and, in downtown Wright Park, made the semi-circular benches around the “sprayground” skateable with steel edges rather than defending them with steel knobs. In Emeryville, California, there’s a skate path, with bowls, bumps and rails spread out over a recreational corridor (provoked, it must be said, by the demolition of a DIY skate park).

These designs simulate the thrill of the streets where skateboarding began and, some skateboarders insist, it belongs. In Red Hook, the new park will stay connected to the city, and be protected by more eyes, because it will still serve as a pass-through for residents walking north.

******

Many of the teens’ suggestions, coast to coast, just seem like good sense for people of any age: seating, green space, recreation zonesclose to public transportation, an adult nearby should something happen (but not operating under a state of constant surveillance), longer and later hours. Teens are people too! These projects harness their energy, their ideas and their persuasive powers so that the education goes both ways: teens learn how to advocate for themselves on the city stage, adults learn what it is that a famously uncommunicative demographic needs.

I like Rich’s formulation of teenagers as a febrile, emotional version of adults, not yet disappeared inside a carapace of car, phone, job, gym. The skateboarders and the snackers, the watchers and the players are all alive to the built environment."
alexandralange  architecture  design  urbanism  urban  skateboarding  skateboards  skating  teens  youth  urbanplanning  cities  activism  civics  publicspace  edhook  nyc  booklyn  emeryville  skateparks  parks 
january 2018 by robertogreco
The New York Times: Youth in San Diego: Skateboards, Beach Hangs and Chicano Culture
“The city breathes skateboarding,” said Bruna Stalliviere, whom John Francis Peters met while photographing young San Diegans this summer.
sandiego  photography  johnfrancispeters  diversity  skateboards  skateboarding  skating  fashion  joannanikas  california 
september 2017 by robertogreco
PAVING SPACE on Vimeo
"An unconventional encounter between maths, art and skateboarding.

This film documents a series of performances at the Palais de Tokyo in Paris, as well as the Institute of Contemporary Art Singapore and Sainte-Croix Museum in Poitiers.

The project originated after Carhartt WIP approached Isle skateboards to work on a collaborative
collection.ISLE, which started in 2013, has always prided itself on artist led conceptually driven ideas. Carhartt WIP and ISLE could think of no one better than artist and fellow skateboarder, Raphaël Zarka to work with. When they approached Zarka, he had been researching the work of 19th Century mathematician Arthur Moritz Schoenflies.

Schoenflies was a master of geometry and crystallography. He had developed his own three dimensional models that specifically captivated Zarka’s attention, after he was inspired with their sculptural potential.

This film invites you to view Zarka’s large scale reconstructions of Schoenflies’ models, re-appropriated in a way never imagined before.

Featured skaters :
Sylvain Tognelli / Nick Jensen / Casper Brooker / Jan Kliewer / Joseph Biais / Rémy Taveira / Josh Pall / Chris Jones / Armand Vaucher

Filmed, Edited and Directed by Dan Magee.
Technical motion design by Fabian Fuchs & Location intro animations by Andrew Khosravani.
Music composed and performed by Joel Curtis with contributing scoring by ADSL Camels."
skating  skateboarding  skateboards  danmagee  film  art  math  mathematics  arthurmoritzchoenflies  raphaëlzarka  sculpture  3d  tessellations  edg  video 
january 2017 by robertogreco
Janwaar Castle Our Principles - Janwaar Castle
"Janwaar Castle is a sandbox project for which the principles are clearly defined (without being taught or said) and inside this sandbox everything is possible. It is up to the children what we take forward. The options are manifold. Our principles are simple:

Systems over objects
We believe in networks and we think in networks. Janwaar Castle is a network based model. Therefore we put systems over objects and constantly ask ourselves how do we responsibly participate in the village and the area around us.

Emergence over authorities
We don’t tell the children what to do. We let them do, observe and then guide them in the things they’ve chosen to do. It’s not on us to decide what will be done or what is right or wrong. And they don’t need to ask for permission. They can simply go ahead and do.

Pull over push
Janwaar Castle pulls from the network as it needs it rather than keep everything in stock. We are agile. Resources one considers as assets actually become liabilities when one wants to be agile.

Resilience over strength
It is not the fittest or strongest who keeps Janwaar Castle running, it’s the one who is ready to go the long distance if needed and to achieve balance within the Janwaar Castle ecosystem.

Disobedience over compliance
This is a tough one for India. You don’t win Nobel prizes for doing what you’re told. We need to create environments that are resilient to the automatization of the world, and that require disobedience and encourage to ask questions. A lot of civics is about disobedience.

Compasses over maps
At Janwaar Castle it’s much more important to navigate and find your own way in life than following a pre-defined path or a standardized curriculum.

Learning over education
Education is something what you do to others. Learning is what you do to yourself. And this is what Janwaar Castle is all about.

Practice over theory
We do. We build stuff. We fail. We do it again differently. We might fail again. Then we do it again. And we learn by doing so. We succeed. This way the kids for instance have learnt to fix their skateboards, to use their tablets and to skateboard. Without instruction. What they’ve learnt will stay with them.

We over me
Janwaar Castle is community oriented, it doesn’t focus on the individual. This is a natural outcome of the network and the system thinking we’ve embraced."

[See also:
"Why A German Woman Built A Skatepark In Rural Madhya Pradesh"
http://www.huffingtonpost.in/2016/08/23/why-a-german-woman-built-a-skatepark-for-rural-children-in-madhy/

"The first hurdle was bringing the children from the Adivasi and Yadav communities together.

"In the village we have Adivasis and Yadavs -- they are strictly separated in their houses. First the Yadav kids came to the skatepark, they were 'pushing out' the Adivasis," she said.

The Adivasi and the Yadav children wouldn't skate together. They had different timings.

But, slowly, things changed. "Now the skatepark has a mix of Adivasi and Yadav, boys and girls, and all age groups," she said.

Recalling an incident, she said, "A key moment in this was in one of our morning sessions. There was a little Adivasi girl standing in the middle of our circle. She was dirty like hell, no one wanted to give her the hand and include her in the circle. So, I did. A few seconds later a Yadav boy took the other hand and she was included."" ]
janwaarcastle  education  learning  resilience  systemsthinking  systems  emergence  emergentcurrciulum  sfsh  disobedience  compliance  democracy  practice  theory  praxis  skateboarding  skating  skateparks  lcproject  openstudioproject  children  empowerment  standardization  curriculum  via:willrichardson  standards  community  individualism  networks  india  madhyapradesh  inclusion  inclusivity  skateboards 
september 2016 by robertogreco
House of Vans - MUSIC - SKATE - ART
[via: http://us6.campaign-archive1.com/?u=97934e4c6a575656a65b5d1d4&id=075cc8ca1b&e=533e3f0cab ]

"The House of Vans in London is the physical manifestation of the culture and creativity that have defined the Vans brand since 1966.

Always embracing and fuelling creative expression through art, music, skateboarding, BMX, street culture and fashion; the space offers a solid platform for the local communities to experience and engage with Vans’ ‘Off The Wall’ spirit."

[Also in Brooklyn:
http://www.vans.com/houseofvans

"It’s a place where imagination lets loose over concrete bowls, art installations, workshops and concert stages, inspiring every person who runs, rolls, or stomps through its door. Located in Brooklyn, New York and Waterloo, London, as well as pop-ups around the world, the House of Vans is home to the creativity that moves us.]

[Funny there isn’t anything in California considering Vans origins in Anaheim and headquarters Cypress.]
vans  london  skateboarding  skating  art  music  skateboards 
august 2016 by robertogreco
How Kids Just Being Kids Became a Crime | TakePart
"There’s a story that liberals like to tell about “underprivileged” children and the government, a story about how the state has abandoned such kids to historical inequity, uncaring market forces, bad parenting, and their own tangle of pathologies. We talk about the need to “invest” in communities and in the children themselves. Analysts speak of “underserved” communities as if the state were an absentee parent. If kids are falling behind, they need an after-school program or longer days or no more summer vacation. A combination of well-tailored government programs and personal responsibility—a helping hand and a working hand to grab it—are supposed to fix the problem over time. Pathologies will attenuate, policy makers will learn to write and implement better policies, and we can all live happily ever after.

There’s just one fly in the ointment: The best research says that’s not how the relationship works. The state is as present in young Americans’ lives as ever.

For his 2011 ethnography Punished: Policing the Lives of Black and Latino Boys, sociologist Victor M. Rios went back to the Oakland, California, neighborhood where he was raised a few decades earlier to talk to and learn from a few dozen young men growing up in a so-called underserved neighborhood. What he discovered was a major shift in how the law treated the young men he was working with.

“The poor,” Rios writes, “at least in this community, have not been abandoned by the state. Instead, the state has become deeply embedded in their everyday lives, through the auspices of punitive social control.” He observed police officers playing a cat-and-mouse game with the kids, reminding them that they were always at the mercy of the law enforcement apparatus, regardless of their actions. The young men were left “in constant fear of being humiliated, brutalized, or arrested.” Punished details the shift within the state’s relationship with the poor and the decline of a social-welfare model in favor of a social-control model. If the state is a parent, it’s not absent—it’s physically and psychologically abusive.

One of the things Rios does well in Punished is talk about the way just existing as a target for the youth control complex is hard work. Simply trying to move through the city—walking around or waiting for the bus—can turn into a high-stakes test at a moment’s notice. Rios calls the labor the young men he observed do to maintain their place in society “dignity work.” The police exist in part to keep some people on the margin of freedom, always threatening to exclude them. Nuisance policing comes down hard on young people, given as they are to cavorting in front of others. Kids don’t own space anywhere, so most of their socializing takes place in public. The police are increasingly unwilling to cede any space at all to kids: patrolling parks, making skateboarding a crime, criminalizing in-school misbehavior.

“Today’s working-class youths encounter a radically different world than they would have encountered just a few decades ago,” Rios writes. The data back him up: According to a 2012 study from the American Academy of Pediatrics, “since the last nationally defensible estimate based on data from 1965, the cumulative prevalence of arrest for American youth (particularly in the period of late adolescence and early adulthood) has increased substantially.” Now, 30 to 40 percent of young Americans will be arrested by the age of 23. When researchers broke it down by race and gender, they found 38 percent of white boys, 44 percent of Hispanic boys, and 49 percent of black boys were affected. (For young women it was 12 percent across the board.)

Dignity work, then, has intensified. It’s harder than ever for kids to stay clear of the law. The trends in policing (increasingly arbitrary, increasingly racist, and just plain increasing) have played out the same way in schools. This is how researcher Kathleen Nolan describes the changes in one New York City high school in her book Police in the Hallways: “Handcuffs, body searches, backpack searches, standing on line to walk through metal detectors, confrontations with law enforcement, ‘hallway sweeps,’ and confinement in the detention room had become common experiences for students.... Penal management had become an overarching theme, and students had grown accustomed to daily interactions with law enforcement.” Interacting with law enforcement is not just work—it’s dangerous work. Especially when the school cops have assault rifles.

There are many explanations for the rise of American mass incarceration—the drug war, more aggressive prosecutors, the ’90s crime boom triggering a prison boom that started growing all on its own, a tough-on-crime rhetorical arms race among politicians, the rationalization of police work—and a lot of them can be true at the same time. Whatever the reasons, the U.S. incarceration rate has quintupled since the ’70s. It’s affecting young black men most of all and more disproportionately than ever. The white rate of imprisonment has risen in relative terms but not as fast as the black rate, which has spiked. The ratio between black and white incarcerations increased more between 1975 and 2000 than in the 50 years preceding. Considering the progressive story about the arc of racial justice, this is a crushing truth.

Mass incarceration, at least as much as rationalization or technological improvement, is a defining aspect of contemporary American society. In her book The New Jim Crow: Mass Incarceration in the Age of Colorblindness, law professor Michelle Alexander gives a chilling description of where we are as a nation: “The stark and sobering reality is that, for reasons largely unrelated to actual crime trends, the American penal system has emerged as a system of social control unparalleled in world history.”

The rise of racist mass incarceration has started to enter the national consciousness, but though it coincides with millennials’ growth and development, most commentators don’t connect the two. If the change in the way we arrest and imprison people is a defining aspect of contemporary America—and I believe it more than qualifies—then it follows that the criminal justice system also defines contemporary Americans. Far from being the carefree space cadets the media likes to depict us as, millennials are cagey and anxious, as befits the most policed modern generation. Much of what a few decades ago might have been looked on as normal adolescent high jinks—running around a mall, shoplifting, horsing around on trains, or drinking beer in a park after dark—is now fuel for the cat-and-mouse police games that Rios describes. One look at the news tells us it’s a lethal setup."
children  youth  adolescence  poverty  class  government  legal  law  2016  malcolmharris  schools  underprivileged  inequity  inequality  victorrios  schooltoprisonpipeline  race  racism  police  policing  lawenforcement  criminalization  socialcontrol  abuse  behavior  skating  skateboarding  dignity  policy  prisonindustrialcomplex  massincarceration  newjimcrow  michellealexander  crime  prisons  skateboards 
july 2016 by robertogreco
San Francisco Skate Club
"San Francisco Skate Club strives to provide a safe, positive, and fun environment for youth of diverse backgrounds to pursue their passion or desire to skateboard, meet and form friendships with other young skaters, and learn from experienced skateboarders who are role models in the community.  We believe in children’s creativity, individuality, and openness to learn new things.  We nurture the ability to set goals and take risks in a safe environment.  Above all else, we strive to ensure that everyone in our community feels accepted, respected, and appreciated."
sanfrancisco  skateboarding  sfsh  skating  skateboards 
june 2016 by robertogreco
BBC - Future - Secret city design tricks manipulate your behaviour
"Hidden in our streets and buildings are "unpleasant designs" that force us to make certain choices, discovers Frank Swain. Once you know what they are, it will transform how you see your city."
architecture  design  frankswain  cities  urban  urbanism  2013  homeless  inhospitable  benches  furniture  surfaces  skating  skateboarding  skateboards 
december 2015 by robertogreco
Stoked The Rise And Fall Of Gator - YouTube
"Stoked: the Rise and Fall of Gator, is a feature documentary film by the American filmmaker Helen Stickler about 1980s professional skateboarding champion Mark “Gator” Rogowski, who is now serving life in prison for rape and murder. Rogowski had one of the most popular signature skateboards in the 1980s, and the most coverage in skateboarding magazines and videos for a period of time in that era.

Stoked follows Gator's life in skateboarding and highlights his rise to fame and problem with alcohol and depression which, through various events in his life, led him to brutally rape and murder an acquaintance, Jessica Bergsten, his ex-girlfriend's former best friend. Interviews in the movie include Tony Hawk, Jason Jessee, Stacy Peralta, Lance Mountain, Steve Caballero and Brandi McClain. The film features music from some of the most influential bands of the era and culture, including the Butthole Surfers, Dead Kennedys, Black Flag and Naked Raygun, and an original score by American composer David Reid.

Stoked: l'ascension et la chute de Gator, est un film long métrage documentaire par le réalisateur américain Helen Stickler environ 1980 champion du skateboarding professionnel Mark "Gator" Rogowski, qui purge actuellement la prison à vie pour viol et assassinat. Rogowski avait un des styles de skateboard les plus populaires de dans les années 1980, et le plus de couverture dans le skate magazines et de vidéos à cette époque.

Stoked suit la vie de Gator dans le skate et souligne son ascension vers la gloire et les problèmes avec l'alcool et la dépression qui, à travers divers événements de sa vie, l'ont brutalement amené au viol et au meurtre d'une connaissance, Jessica Bergsten, ancien meilleur ami de son ex-petite amie. Les interviews du film comprennent Tony Hawk, Jason Jessee, Stacy Peralta, Lance Mountain, Steve Caballero et Brandi McClain. Le film propose de la musique de certains des groupes les plus influents de l'époque et de la culture, y compris les Butthole Surfers, Dead Kennedys, Black Flag et Nu Raygun, et une musique originale du compositeur américain David Reid."
skateboarding  documentary  film  gator  markrogowski  helenstickler  1980s  skating  skateboards 
october 2015 by robertogreco
Skateboarding in Pine Ridge - The South Dakota Build Documentary - YouTube
"We joined the Stronghold Society and Grindline Skate Parks and went to Pine Ridge, South Dakota to finish one skate park and build another in the neighboring town of Manderson."

[Also at: https://vimeo.com/142320599 ]

[Related:

"Skateboarding in Oakland - Town Park Documentary"
https://www.youtube.com/watch?v=DdYahLP1tH4

"In the Fall of 2014, Levi's Skateboarding (http://www.levi.com/skateboarding) partnered with Keith "K-Dub" Williams in West Oakland to revamp the existing Town Park Skate Park. Along the way a documentary was shot to tell a story of K-Dub, Town Park, West Oakland, and those who skate there. This documentary highlights the importance of skate parks for communities and the youth."

Skateboarding in India Full Length Documentary (UNCENSORED)
https://www.youtube.com/watch?v=l0C0A9vCInc

"We joined the Holystoked skateboarding crew from Bangalore and the 2er building crew from Hannover, along with 24 skateboarders and skatepark builders from around the world to build the first, free public use skate park in India.

Pro skateboarders Chet Childress, Al Partanen, Stefan Janoski, Omar Salazar, Lennie Burmeister, and Rob Smith all joined in on the build of the skatepark before skating the finished project."

SKATEBOARDING IN LA PAZ (Full-length Documentary)
https://www.youtube.com/watch?v=N0ZKykvnEoM

"In April of 2014, Levi's® Skateboarding joined Bolivian skater Milton Arellano in reuniting with the endboss projects crew from Hannover, along with over a 100 skateboarders and skatepark builders from around the world, to build a public skatepark in La Paz, Bolivia.

See pro skateboarders Marius Syvanen, David Gravette, Josh Matthews, Joey Pepper, Chet Childress, and Al Partanen live, work, and skate the Pura Pura skatepark three miles up in the sky."

"Skateboarding in Johannesburg"
https://www.youtube.com/watch?v=Ba4TjXlwse4

"Led by Jamie O'Brien of Woodie's Skate Ramps, Levi's® Skateboarding South Africa helped revitalize a local skatepark in the Johannesburg suburb of Edenvale. Check out the skateboarding video to learn more."]
skateboarding  southdakota  india  bolivia  lapaz  oakland  film  documentary  skating  skateboards 
october 2015 by robertogreco
Ethiopia Skate
"We lead a local street skateboard movement, helping young skaters get access to equipment and teaching this generation to skate safely.

Ethiopia Skate began when a peer group of young skateboarders in Addis Ababa led by then 16 year old Abenezer Temesgen connected with veteran skater Addisu Hailemichael and diaspora skaters Yared Aya and Bezueyo Julien. As the community grew it attracted photographer Sean Stromsoe and other foreign skaters, such as Thom Jonsson and Aurelio Macone who each made their own imprint on the history of skating in Ethiopia. We are stoked to learn language, balance, and patience through skating with friends.

We vision to connect Ethiopian skateboarders and coordinate opportunities for foreign skaters to link up with locals at skate spots around the country. We want to give access to equipment and maintain skate spots as we help guide this influential youth culture."

[See also: https://www.youtube.com/channel/UCs48dZCk69HWsyHM_iLOI1w
https://www.youtube.com/watch?v=ok1dUN-KBlo
https://www.youtube.com/watch?v=VOBNvO_eD8Y
https://www.youtube.com/watch?v=w-X4y3Plf4I

https://instagram.com/ethiopiaskate
https://twitter.com/ethiopiaskate ]
ethiopia  skating  skateboarding  skateboards 
july 2015 by robertogreco
Inside Cuba's Skating Community | OUTPOST - YouTube
"A short documentary by Outpost about the skaters of Havana’s 23yG Skate crew and their struggle to keep skate culture alive in Cuba.

To learn more about 23yG and Cuba Skate, please visit http://www.cubaskate.org/."
cuba  skateboarding  skating  skateboards  2015  documentary  havana  youth 
may 2015 by robertogreco
Our cities should be "machines of play" | CityMetric
"Le Corbusier famously defined houses as machines for living in: carefully constructed systems that would efficiently help us live. Following that line of thought, he claimed that carefully planned cities, composites of machines for living, would actually lead to a better, more humane urban environment.

In some ways, our modern western cities are somehow thought of, or dreamt of, as postmodern interpretations of Le Corbusier’s ideals. We want our cities to be planned, rehabilitated, open spaces for pleasure as well as productive machines for commerce and innovation. We dream of our cities as being efficient machines of inclusion, environmentally friendly and both forward looking and aware of their past.

But these cities are not very well oiled machines – unless, of course, you’re wealthy. The humane interface of the machine is only available to few, at the expense of the many who can barely scrap a living together in these urban spaces. Our cities have become politically determined zoned areas, corporate gardens through which we transit, but not stay.

Our model of the citizen has also changed. In this era of big data, to be a citizen of a modern city is to be a data provider. Modern cities have become hungry machines that squeeze from all of us all possible data to paint a picture of who inhabits them. The portrait of the modern citizen is a pointillist image made of countless data entries, from addresses to spending habits, framed by the city as the backdrop of what we call “living”.

The spaces of the city machines are highly regulated, with constant refreshers of norms and regulations about their appearance, style, and how citizens, or maybe users, should behave. The ways of traversing cities are also highly regulated, disallowing other forms of transportation than those deemed relevant, possibly, beneficial.

And yet, there are glitches in these machines. The skateboarders and “traceurs”, who see the open spaces of corporate parks and plazas as the perfect settings for athletic performance and just plain fun. The graffiti artists that know there is no better canvas than that paid for by a rich hand, the playful vandals that destroy CCTV cameras in the weird, poignant game of Camover. None of them resist order: rather they create new orders, new spaces of possibility, through play.

This is why making playable cities matters: it is an effort to make these machines human again. To play is to appropriate the world for our own personal expression, within boundaries we set. To play is the fundamentally human act of exploring not only the “what ifs”, but also the “what if nots”, searching joyfully for a space for expression, together with others.

That’s why making cities playable is also making cities livable – making the “public” corporate spaces truly public, spaces to meet across cultures and races and incomes to do what we can best do together: to play, and be playful.

Playable cities can help us rethink big data through toys and playgrounds, giving us the opportunity to reclaim our data. Playable cities allow us to play hide and seek with the restless datavore machine, potentially educating us on what big data actually means, and how to survive it.

Making cities playable won’t solve all of our urbanism problems. But like play theorist Brian Sutton-Smith once said, “Life is crap, and it’s full of pain and suffering, and the only thing that makes it worth living — the only thing that makes it possible to get up in the morning and go on living — is play.”

So let’s make our cities open for play: play as joyous revolt, as constructive resistance, as spaces for moments of joy. Let’s turn cities into collective instruments for pleasure and resistance. Let’s turn cities into machines for playing."
play  cities  urban  urbanism  lecorbusier  miguelsicart  2015  skating  skateboards  skateboarding  placemaking  briansutton-smith  resistance  pleasure  pakour 
march 2015 by robertogreco
Marbel - World's Lightest Electric Skateboard | Longboard | Vehicle
"The Marbel board is the lightest, fastest, and most advanced electric skateboard in the world. The entire Marbel Board weighs in at a record setting 9.9 pounds. Lighter than any electric vehicle in the world.  It has enough power to go 25 MPH, will take you over 12 miles per charge, and all of the electronics and batteries are completely integrated into the carbon fiber / kevlar deck. On top of that, it connects with your smartphone to fully customize your riding style and even control the throttle of your board."
skateboards  skateboarding  electric  skating  transportation 
january 2015 by robertogreco
debuting at CES, zboard 2 electric skateboard reaches speeds of 20mph
"on show at the 2015 CES, the electric skateboard, ‘zboard 2′, has a new 500W brushless motor that is faster, more powerful and more efficient than the one installed on their original product. available in two models; blue and pearl, they both reach a top speed of 20mph but differentiate from each other when their performance data is compared. the blue edition has a battery range of 16 miles, weighs 16 lbs and recharges in a total time of 90 minutes. in contrast, the more expensive pearl version can travel for a grander 24 miles but subsequently, has a heavier weight of 18 lbs and takes two and a half hours to fully re-energize."

[video: https://vimeo.com/115839850 ]

[See also Boosted (another company): http://boostedboards.com/ ]

[and another, Electric Monolith: http://www.designboom.com/technology/electric-monolith-skateboard-motors-wheels-03-09-2015/ ]
skateboards  skateboarding  electric  transportation  zboard  zboard2  2015  skating  boosted 
january 2015 by robertogreco
The End of the Skateboard Shop | RIDE Channel
"Your local shop may soon be a thing of the past... if it isn't already."



"Here’s the gist of it.

Has anyone on the planet earth ever purchased a pair of golf cleats or Tom Brady-endorsed footwear to look cool? Somehow, though, Michael Jordan hasn’t played in an NBA game in more than a decade, but his signature shoes and clothing line are still relevant and profitable. That’s because the Air Jordan transcended the actual context of basketball and became an icon in fashion. So even when MJ laced up for the Wiz and sucked, people still wanted his shoe.

Conversely (pun intended), skateboarding, has finally become “normal,” and is a massive influencer in footwear. Through its SB program, Nike reframed the sneaker market, formalizing drops through boutiques instead of chains. As a sport, skateboarding doesn’t mean anything to most, but it allows Nike to keep new colorways of Dunks and Janoskis coming out.

This doesn’t translate into TV ratings or sales of core skate products, but it absolutely drives footwear and clothing trends. So even though it’s a niche market, it’s a valuable one. But what’s relevant to the business side of skating isn’t the board sales—it’s the shoe sales. Don’t believe me? Ask Foot Locker how that played out. The reality is that skateboarding has become a vehicle to sell sneakers, not skateboards, and that’s changed the dynamic of the all-American skateshop.

But what the hell is a skateshop, anyway? The specialized skateboard store wasn’t really a thing across the United States until the industry boom of the ‘80s. Before that—depending on which coast you were nearest—it was just a rack in a surf of bicycle shop.

Think of your favorite fast food establishment deciding that a strong demand for French fries warranted an entire brick-and-mortar store dedicated store to selling items related to potato sticks submerged in oil exclusively. That’s how skateshops originated.

But here’s the weird part: Skateshops have never made much money from skateboarding. I’m not shitting you. In 1984, the average deck sold for $49. In 2014, the average deck sells for $49. If you spoke to any economist, even one recently concussed in a car accident, he’d be puzzled as to how an industry could exist without responding to inflation for the past 30 years.

The only reasonable explanation would be this: Skateboarding doesn’t exist to sell skateboards. As a business, it’s a tool to sell a lifestyle, clothing and footwear included.

Store owners long ago recognized and responded to this reality. For proof, walk into your local shop (provided you still have one) and compare the board wall to the shoe wall. All it takes is some quick math to recognize that the profit margin on the former—probably the smaller of the two—is a fraction of a fraction of what those rows of sneakers are generating.

That makes sense. Skateboarders buy skateboards, but everyone buys sneakers. So do you see the problem here? Even in the early ‘90s, when boards were snapping from sloppily landed flip tricks (or, yeah, from being focused), the profit margin on them wasn’t nearly enough to keep stores in business. And, really, how often do you buy other hard goods—like new trucks?

THE REAL NEED FOR SKATESHOPS
So why the hell would anyone open a skateshop in 2014? There’s a plethora of valid reasons, but the one that resonates strongest is that if someone breaks a skateboard, buying one at a shop is the fastest way to get another. The internet hasn’t figured out how to get you one in a few hours... yet. But that’s not the charm of skateshops. Before communities existed in digital code in some virtual space that most of us barely understand, walking into a skateshop was an experience.

In the ‘80s and even well into the ‘90s, there was a disparity between what you saw in a magazine and what was available to you. Sure, you might have seen an ad for a new graphic from Skater X, but that didn’t mean that you could walk into your local and buy the board. Instead, you entered with a sense of wonderment and anxiety because you had no clue what would actually be on the shelves. Skateshops were hubs of skateboarding—the only places you were guaranteed to meet another skateboarder. Does make sense? It gets crazier. Skateshops used to be one of the few places where you could see skateboarding. I swear.

Most of the skate videos that drove the industry never premiered; they simply showed up in shops. No screenings, no fanfare, no ads, and no fucking hashtags. They just materialized, and the first place you usually saw them was on the convex screen of a tube television sitting on the counter of a skateshop. You’d digest the advertisement for whatever brand made the video, discuss it with fellow shoppers—a term I use loosely, since most skaters lacked the funds to buy anything—and linger. For hours.

Outside of seeing them at spots, this is how most skaters met fellow skaters. Does anyone in a Starbucks or Dunkin’ Donuts talk and share ideas and techniques on how to drink coffee? Hell no—the environment in those chains is exactly the opposite of what you see in a mom-and-pop café equipped with free WiFi. Similarly, you don’t go to your average mall skateshop to hang out. You go there to buy. Just try to sit down to watch a video or whatever. If you’re not asked to leave, a store employee will probably try to push weed-graphic socks on you.

If 2014 is any indicator, skateboarding is going to follow the same trajectory as every other business: Keep a low price point, mass-market product through chain stores and eCommerce sites, and offer the core audience elaborate and exclusive pop-ups in media-driven cities. The stores started and run by actual skateboarders without the vested interest of a larger brand will struggle, hoping their athletic shoe accounts drive enough sales to keep them in business but knowing that the shop groms who hang out each day will eventually get sponsored or find a way not to pay for things.

Basically, running a skateshop is as ill-advised a decision as it’s ever been... unless you flip it and just say you run a sneaker shop that sells skateboards. Online and chain stores haven’t figured out how to replicate the sense of community and belonging common to legitimate shops because that doesn’t serve their agenda. Aside from a need for clothing, there's no connective tissue between people who buy your average jeans and T-shirts.

Every town has a park, everyone can buy anything with a few clicks and swipes from a mini-computer in their pocket, and every kid is good and can get sponsored. For the tiny number of people who care more about the community than the sport, skateshops are clubhouses, VFW halls for each of us, but they’re getting harder to sustain, and in 10 years they’ll be all but extinct."
skateboarding  skating  retail  2014  business  via:tom.hoffman  skateboards 
november 2014 by robertogreco
The Chain Bike X Skate
"The Chain Bike X Skate is more than just two shops in one. We offer a wide array of services that are oriented around meeting our community's needs. Run by people from the greater South Eastern San Diego region, we have grown up in these areas and believe we are best able to provide quality services for our community. Stop by and see what great services we have to offer."
skateboarding  skating  bikes  biking  barriologan  sandiego  skateboards 
november 2014 by robertogreco
QUIK on Vimeo
"QUIK is a collaboration between theberrics.com and Quiksilver. It's a film shot exclusively on the sidewalks and streets of Los Angeles giving an unprecedented look into the world of street skating. Captured entirely from a moving vehicle, the film follows Austyn Gillette as he skates through the neighborhoods of LA's historic east-side and downtown at top speed.
Behind the Scenes by Tom Gammage. Watch it here theberrics.com/process/austyn-gillette.html "

[via: http://theamericanreader.com/toward-a-poetics-of-skateboarding/ ]
colinkennedy  austyngillette  losangeles  film  skating  skateboarding  2013  skateboards 
july 2014 by robertogreco
Uganda’s Skateboarding Scene - Photographs - NYTimes.com
"Before Jack Mubiru, a father of the skateboarding scene in Uganda, could build a half-pipe in his native Kampala in 2006, he had to avoid paying a construction fee, so he fabricated a story about building a private enclosure for a pet crocodile. Most local officials — and neighborhood residents — had never heard of skateboarding. Six years later, the sport has spread from the skate park to the streets, attracting children as young as 5 and adult women. Its profile is growing throughout eastern Africa, with skate parks built or planned in neighboring Kenya and Tanzania. Proponents of skateboarding say it gives participants a welcome leisure activity in countries where there are few other options. ‘‘There is not much else for younger people to do,’’ Mubiru says. ‘‘So many people want to skateboard.’’

Julie Bosman"
uganda  skateboarding  skating  2012  juliebosman  photography  skateboards 
july 2014 by robertogreco
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
Gnarly in Pink - Video - NYTimes.com
"This short film celebrates the “Pink Helmet Posse,” three 6-year-old girls who share an unusual passion: skateboarding."

[See also: http://www.nytimes.com/2014/06/23/opinion/gnarly-in-pink.html ]
girls  documentary  skating  skateboards  skateboarding  2014  children  kristellelaroche  benmullinkosson  sports  gender 
june 2014 by robertogreco
Skate Spot Porn: Shenzhen, China | Quartersnacks.com
"In recent times, China has surpassed Barcelona as the go-to skate trip destination. Shenzhen, though largely unknown to the west, is a place that any skate company with money has been to film in the past five years. If Instagram is any indicator, the Girl/Chocolate team alone has been there twice this year. The city is just outside Hong Kong, thirty years old (it was farmland up until the late-seventies), and considered to be one of the fastest growing cities in the entire world. Shenzhen looks like a real-life Blade Runner version of Los Angeles, and its sprawl has left a plaza below every single building. Apparently, marble and granite are cheap and abundant for Chinese developers (a few sources claimed they were even less expensive than plywood), and there’s no shortage of cranes in the sky, so Shenzhen’s collection of spots does not seem even close to being finished."
via:tom.hoffman  china  skating  skateboarding  shenzhen  skateboards 
august 2012 by robertogreco
LOVE STORY - ON VIDEO, WINTER 2004 on Vimeo
"Few skate spots on earth can claim the notoriety of philadelphia's love park. its location and design have made it the focal point of east-coast skateboarding. for the first time, ricky oyola, stevie williams, josh kalis, kerry getz, tim o'connor, and a host of local notables tell the tale of this legendary landmark."
urban  documentary  skateboarding  philadelphia  parks  skating  lovepark  2004  classideas  meaning  meaningmaking  history  rickyoyola  steviewilliams  joshkalis  kerrygetz  timo'connor  cities  skateboards 
june 2011 by robertogreco
YouTube - Paul Rodriguez, San Francisco, Fall 2010
"We tasked our friends Mike Martin and Gabe Morford (of MASH) with the job of documenting Paul Rodriguez during one of his recent visits to San Francisco. Watch how Paul navigates the city's streets, hills and skate spots. Check out scenes from 3rd and Army, Pier 7 and Hubba Hideout while listening to the song "Watching Trees" performed by underground 80s synth-wave band Eleven Pond (written by Jeff Gallea)."
paulrodriguez  2010  sanfrancisco  skateboarding  skating  incase  skateboards 
may 2011 by robertogreco
Tuttle SVC: Steve Olson on Unschooling
"Skateboarding legend Steve Olson, and his son Alex, talk about unschooling. The part with Steve starts around 7:00, the unschooling part around 10:30. You may have to watch a clever ad about washing your testicles before the actual video starts."

[video is here: https://video.vice.com/en_us/video/alex-olson/5637824050c856226ca42af3 ]
steveolson  alexolson  skateboarding  unschooling  education  learning  parenting  skating  skateboards 
december 2010 by robertogreco
The Way of Dr. Tae | Feature | Chicago Reader
""I don't know that I always agreed with him on all of his philosophies of teaching," says Andrew Morrison… "but he was a rare example of someone who was willing to engage in a discussion of what was wrong with how science is taught and what could be done to improve science education."

Ultimately, though, Kim decided that he didn't care to fight the system, at least not from within. "I made a decision, and it was like, I knew what teaching and learning was, and I knew I couldn't do it at a university, and that blew my mind," he says. "But once I understood that, I had to stop."

Kim isn't sure exactly what his next job will be, but his short career at Robomodo has led him to consider, among other things, in industrial design.

"I didn't plan this, but I think it's more interesting this way," said Kim. "In my professor days, I'd see kids going to college thinking they already had their lives & careers all lined up already. In my experience, it doesn't work out that way." "
drtae  education  learning  physics  teaching  unschooling  deschooling  colleges  skateboarding  universities  skating  skateboards 
november 2010 by robertogreco
California is a place.
"California is loaded. From Disneyland to farmland, we’ve got Scientology and superstars, Silicon and silicone, crips and bloods. The border. Krunkin’ Clownin’ Jerkin’. The surf and the turf. The boom and the bust. California is humanity run amuck and then packaged, branded and sold. California Cuisine, California Love, California Casual, California Gold, California Girls, and of course, California Dreams. If it exists in the world, it exists here and it does so with pizzaz.

Obviously, we love this stuff. That’s why we’re doing this project. Simply put, California is sensational. And the closer we look the better it gets: words and images, stories and songs, opinions and ideas. This project is ongoing. We hope you like what you see and say so. We plan to post often. So until that day, when we finally float off into the Pacific, California is a place. Stay tuned."
california  immigration  skateboarding  multimedia  video  documentary  sandiego  losangeles  sanfrancisco  borders  mexico  us  tcsnmy  skating  skateboards 
may 2010 by robertogreco
Bastard Store / studiometrico | ArchDaily
"Founded in Milan in 1994 by four skateboarders, Comvert S.r.l. conceives, produces and distributes clothing for skateboarders and snowboarders under the brand bastard and distributes the brand Electric in Italy.

Few years ago Comvert decided that it was about time for finding a new location to set up its new headquarter and gave studiometrico the opportunity to search for the right building and then, possibly, to refurbish it.

The ideal place had to be spacious enough to be able to host the administrative department, the design department, a flagship store, a storage facility, a wide access for the goods and a skate-bowl for bastard employees, friends and team riders."
architecture  skateboarding  skate  italy  milan  design  skating  skateboards 
march 2010 by robertogreco
Near Future Laboratory » Blog Archive » Predictably Not Quite Failing
"I don’t want to attempt a rough-shod bit of metaphor-stretching — or at least not too much — to try and rationalize sharing this *non sequitur of a post, except to say that, as pertains the last photo, I have been obsessed with these moments when something tried..fails. The failure has this curious, no-fear character to it. Trying the thing that seems impossible, over and over again. Getting closer, or moving away from the original idea and into something else, &c. It’s never a failure out right, at least as I see it through a viewfinder. There’s always something quite lovely about the moment when the board stays where it is, and the skater goes somewhere else."
skateboarding  failure  iteration  persistence  learning  julianbleecker  tcsnmy  unschooling  deschooling  practice  skating  skateboards 
february 2010 by robertogreco
Amazing! Bike Faster than Helicopters, Running Faster than Car in Sao Paulo : TreeHugger
"Do you want more proof that encouraging car use in a city is only going to lead you to traffic hell? Take a look at Sao Paulo: the city of ridiculous car jams, where there are more privately held helicopters than anywhere else in the world.

The thing is, not even the air has solved the traffic problem, and the new highways that are being planned for the city won't solve it either. It seems so obvious that the right way to go is to discourage the use of cars (like Bogota or Curitiba did), but now we have proof (a great treat for World Car Free Day).

A group of cyclists have put up a test and had 18 different combinations of transport travel a distance of about 10 kilometers (over 6 miles) during rush hour. Guess what? Two of the cyclists turned out to get to destination faster than the helicopter, and all the cyclists, a runner, the bus and, ¡a skater! took less time than the car. This last one took a nerve-racking 82 minutes to cover that distance."
cities  bikes  cars  transportation  buses  skateboarding  traffic  walking  speed  transport  sãopaulo  biking  skating  skateboards 
september 2009 by robertogreco
Washington Street Skatepark Association
"En route to Tijuana, a couple of hours spent trying to get to grips with the social etiquette of sk8ers in the Washington Skateboard Park. ... A positive and fascinating space when you're next in San Diego." - Jan Chipchase

[http://www.janchipchase.com/blog/archives/2009/04/sk8er-etiquette.html]
sandiego  skateboarding  skating  skateboards 
april 2009 by robertogreco
Beautiful Losers film trailer on Vimeo
"Beautiful Losers celebrates the spirit behind one of the most influential cultural movements of a generation. In the early 1990's a loose-knit group of likeminded outsiders found common ground at a little NYC storefront gallery. Rooted in the DIY (do-it-yourself) subcultures of skateboarding, surf, punk, hip hop & graffiti, they made art that reflected the lifestyles they led. Developing their craft with almost no influence from the "establishment" art world, this group, and the subcultures they sprang from, have now become a movement that has been transforming pop culture. Starring a selection of artists who are considered leaders within this culture, Beautiful Losers focuses on the telling of personal stories...speaking to themes of what happens when the outside becomes "in" as it explores the creative ethos connecting these artists and today's youth."
beautifullosers  film  documentary  skateboarding  art  illustration  graffiti  streetart  design  learning  diy  identity  glvo  creativity  youth  biography  mikemills  barrymcgee  margaretkillgallen  harmonykorine  aaronrose  edtempleton  jojackson  deannatempleton  stephenpowers  thomascampbell  cheryldunn  chrisjohanson  geoffmcfetridge  shepardfairey  skating  skateboards 
august 2008 by robertogreco
Urban procedural rhetorics — transcript of my TWAB 2008 talk (Leapfroglog)
"Although I have great faith in the hackers & makers of this world, I do not think things need to be made harder for them than they already are. You can all (partly) influence the future shape of mobile technologies. I have one simple request: Please make
play  games  urbanism  ubicomp  cities  urban  arg  gaming  interaction  surveillance  public  theory  gamechanging  activism  via:adamgreenfield  mobs  flashmobs  space  place  creativity  innovation  psychology  parkour  skateboarding  location  location-based  ubiquitous  streetart  graffiti  gamedesign  interface  ux  skating  skateboards 
june 2008 by robertogreco
SkateboardDirectory.com: News : The Skateboard, The City, and Socio-Spatial Censorship
"discusses the culture of skateboarding in the greater context of the culture of the city and offers insight into the thinking of skaters and city planners alike"
skateboarding  cities  planning  urban  urbanism  culture  space  skating  skateboards 
april 2008 by robertogreco
High Design Underfoot
"A newfound rigor has taken skateboards out of the realm of pure fashion."
design  skateboards  transportation  skate  wheels  skateboarding  skating 
april 2008 by robertogreco
AFQ - Kirk Dianda : enginesystem
"I heard that Einstein only had one outfit, but multiple copies of it. He proclaimed that he would spend less brain energy getting dressed, and more doing what he wanted to."
kirkdianda  film  skating  video  creativity  skateboarding  skateboards 
april 2008 by robertogreco
YouTube - Steve Nash - Training Day
"Soccer, skateboarding and tennis are his workouts. The city is his training ground."
sports  football  stevenash  video  skateboarding  futbol  skating  skateboards  soccer 
november 2007 by robertogreco
Huge Skateboarding Ramp Beckons Daredevils - New York Times
"The largest skateboard ramp in the world can be found on a 12-acre farm north of San Diego among the green foothills of the San Marcos Mountains." at Bob Burnquist's house
skating  sports  architecture  design  construction  skateboarding  skateboards 
november 2006 by robertogreco
Jan Chipchase - Future Perfect: Shoe Gazers, Shoe Gazing
"Walking streets from Tampere or Tokyo and beyond I've noticed that one of the first things that people look at when they check me out is my shoes."
culture  international  world  identity  clothing  shoes  skating  social  society  teens  youth  janchipchase  skateboarding  skateboards 
october 2006 by robertogreco

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