The sound reproduces a significant part often moving the skaters’ relationship with its sport, according to a new study.
Skaters develop the ability to tune in the noise of urban surfaces. Both listen and feel noise and this means that images and videos are only a poor vision of sport. They use the sound to verify the success of their maneuvers, judge the veracity and capacity of the surfaces for their use and as a social signal. For some, skate sensory overload is therapeutic and helps them connect with others skating nearby.
But the research also shows that there is a “skateso paradox”: skaters are aware of the negative sound impacts they make in some nearby people and alter their behavior in some circumstances to counteract this.
The skaters who participated in the investigation described the sound of sport as unpleasant and beautiful. For some it was a critical part of the experience and a therapeutic sensory aid for those who identified themselves as neurodiverse.
The findings demonstrate how visually spectacular sport has a rich sensory world not accessible simply looking at the sport. Skaters really listen and feel what they are doing, and through skatesound they can understand and appreciate what others are doing.
Dr. Paul O’Connor, from the University of Exeter, interviewed 18 adult skaters, 19 and 51. Participants had an average of 12 years of skate experience. The 22 -year -old more rookie skater had only three years of experience, in contrast to a 44 -year -old participant who has been skating for 36 years. Seven of the participants were from the United Kingdom, three of the United States, three from France, two from Canada and one from Sweden and Germany.
Research also identifies how Skatesound was an inclusive experience for some that may feel marginalized or without inspiration for more rigid and institutionalized sports. Three of the participants used headphones, however, only one used headphones while he was a skateboard. Four participants also reported one diagnosis that placed them in a sensory spectrum related to autism or ADHD, or a combination of the two.
Dr. O’Connor said: “The skateboarders talked about their love for the sound of the skateboarding, but also described it as noisy and abrasive. Many of the respondents described the challenging sound of the skateboard in evocative sensory terms, such as’ Rayar ” The sound of drills and Angle Grinders ‘,’ An irritant ‘, the sound of the’ Bottle of beer in the beer bottle ‘, of’ Bone on concrete ‘,’ roller, rough and soft tickles in the ear ‘and’ rough and on the face.
“This meant that sometimes they decided not to skate near the houses, or noisy tunnels, or felt overwhelmed by the sound landscape monotonous claustrophobic skating parks.
“The skaters know that their sound is unpleasant. But they also recognize their importance. The next time they frustrate you the noise of skaters practicing their skills in the local neighborhood, remember that they know they are loud. You could also remember that they are likely in means of a deep sensory learning, a meditative calm of the modern disease of the wandering mind and, above all, join with friends. “
Alfie said that a very consummated skater, tuning in the rhythm and flow of skatesound had allowed him to become a more empathic person. He talked about how his sensory commitment to the skate had helped him deal with anxiety, finding pleasure and being more aware of his neurodiversity.
Approximately half of the participants were against skateboard while listening to music through the headphones while skating because it was antisocial and because sport is a community activity. Gavin felt so strongly about this that he would approach people with headphones while skating and would ask them to take off the headphones and join the session with him and his friends, so that they get socially involved. Eddy said he could not imagine skating with the headphones due to danger.
Dr. O’Connor said: “Those who decided to listen to headphones had multiple reasons to do so. Some, such as Andy, simply wanted music to accentuate their approach and Stoke, while Fiona used headphones as a social barrier when it was The only female skater in the session and wanted to improve her trust.
The research, carried out with colleagues, Professor Brian Glenney and Dr. Max Boutin, also used elements of the Boutin Texturologies Art installation. This interactive art allows people to experience the sensory world of skateboarding through video, sound and haptic platforms. The experience highlights how the skateboard is not simply a sporty toy, but it can also be an ear under the feet.