Colonial Surfer - STNC is a project about the contemporary globalized world and power structures within the surf industry and its realm. Surfing is not just a sport but also culture (producer and distributer). In current discussions you hear about the post colonial – but the situation today is better described as neo colonial. Surfers do travel a lot and somtimes to places unknown to other tourists. The way surfers behave and represent themselves in the adventures search of perfect waves has a lot in common with ancient colonizers and their roles. To surf maintain and conserve already existing structures. History.
STNC Editor: Kristoffer Svenberg
Saturday, October 29, 2016
If you believe that meaning comes in sequences and takes the form of a trajectory through a number of different points, then what you really care about is movement: the real possibility to move from one point to another fast enough to prevent the overall shape from vanishing. Now what is the source of this movement, and what keeps it going? Your curiosity, of course, and your desire for experience. But these aren’t enough, believe me. This movement is also propelled by the points through which it passes … [The surfer] has a chance to build real sequences of experience only if at each stop along his journey he gets another push. Still, they’re not really stops, but systems of passage that generate acceleration.
Unsurprisingly, if the diver is the person who reads Proust, Baricco writes, the surfer is the person browsing the internet.
More importantly, by introducing the figure of the surfer, Baricco develops Jameson’s notion of depthlessness from an experiential register to a modality of engagement. In order to stay above water, after all, the surfer needs to develop the skills that keep him on his board. One of these skills, one similar to Deleuze and Guattari’s concept of the rhizome, is to perceive the ocean as a “trajectory” rather than either a territory (implying a mapping) or a telos(suggesting direction). (Indeed, Deleuze himself introduces the figure of the surfer in his “Postscript on the Societies of Control.”) Here the surfer stays on his board by choosing one wave after the other, regardless of the corals he scratches with the tip of his board or the direction the waves take him in. He literally lets the waves carry him—he “lives in the moment.” The second skill is the ability to constantly keep moving. If the surfer slows down or is momentarily stopped “by the temptation to analyze,” as Baricco puts it, he sinks.
He must progress, advance, experiencing each wave not on its own terms but as the medium, the catalyst for the next encounter, which is to say that each experience is experienced not in and of itself but in anticipation of the next experience, the next wave. What Baricco suggests, thus, is that the experiential registers of depth and depthlessness prescribe different modes of engagement: in the former you focus on one point in particular whilst in the latter you let your eyes scan over the surface; in the first you look for the special, in the second for the spectacular: the next wave, the next thrill. Though Baricco’s metaphor of the surfer is both limiting and reductive and certainly does not define all art from the eighties and nineties, it manages to put into words a sentiment often shared between certain artistic traditions and their audiences: the act of looking for a hint, not of what lies beneath, but rather of what lies ahead of us—the spectacle, the thrill, the controversy, the next wave we can ride and then the next, and the next.
By invoking the figure of the surfer, someone whose concern is not only to stand on the water but to avoid falling into it, going under, this duality is made manifest: to speak about depthlessness is to speak about the extinction of depth, not its nonexistence.
To return to Jameson’s case studies, Van Gogh’s A Pair of Boots implies another mode of engagement than Warhol’s Diamond Dust Shoes: in the former we are invited to look for traces of an experience; in the latter what we are left to see are points for discussion.
Vincent van Gogh’s A Pair of Boots (1887), Jameson wrote, expressed both, through its “hallucinatory” use of color, the artist’s “realm of the senses” and, through its use of “raw materials,” a world “of agricultural misery, of stark rural poverty, … backbreaking peasant toil, a world reduced to its most brutal and menaced, primitive marginalized state.”5 The painting, in other words,conveyed individual ideas, sensibilities, and social realities which continued beyond its borders. In contrast, Andy Warhol’sDiamond Dust Shoes (1980) communicated neither an authorial voice, nor a personal attitude or affect, nor a sense of the world it supposedly represented. The black-and-white photograph, with its shiny, isolated aesthetic, Jameson suggested, could allude to glamour magazines just as well as to a memory of the artist’s mother, to shoes left over from Auschwitz or the remains of a dance hall fire. If Van Gogh’s painting of peasant shoes pulled the viewer into another world of poverty and misery, Warhol’s photo of pumps pushed the spectator out back into his own.6 As Warhol himself is alleged to have said: “If you want to know all about Andy Warhol, just look at the surface: of my paintings and films and me, and there I am. There’s nothing behind it.”
Extract from: The New “Depthiness” - Timotheus Vermeulen
Friday, August 12, 2016
"The mayor of Cannes has banned the wearing of burkinis - full body swimsuits - on the beaches of the French Riviera resort famous for its annual film festival, officials said on Thursday."
- The Telegraph
Sunday 14 August 2016
"A second resort town on the French Riviera has announced a ban on full-body swimsuits - or 'burkinis' - at its beaches. (...) Anyone found breaching the order, in place until the end of August, faces a €38 (£32) fine."
MAKE SURE NOT TO WEAR THIS IN CANNES OR VILLENEUVE-LOUBET!
Friday, August 14, 2015
Sunday, August 2, 2015
Saturday, August 1, 2015
What does the sign that this guy is doing in the picture mean? A positive way of reading could be to say that this guy is breaking the surface in the image. A image of him as a poor. But the one in control here is the one who’s behind the camera.
And this is rather a sign that says Hello in a more specific way.
It’s a surfers sign. And in this case it's about the surface. Being above or under the surface.
A young kid doing the hang loose sign from his perfect position as a poor.
Traditional. As used in the Hawaiian Islands, "Hang Loose or "Shocka" is used as a non verbal expression; or greeting. To tell the receipiant, that every thing will be OK, Relax, Stop looking at me w/ that stern look on your face. / from Urban Dictionary
Sunday, July 19, 2015
Friday, July 17, 2015
Sunday, July 12, 2015
“We are greater than I.” Yes, I can agree on that. I guess we all can agree on that. But when this WE, is a way to narrow norm, it’s not just that great. What WE are in this video is not just anyone. Let me be the party crasher. Let me be the troll. But this video is very much about an “I”. Even though there are people from different areas in the world, girls and boys in this commercial there is an obvious I. Try to read the pictures more carefully and tell me what you see. I am a man in this video. The “I” is a white western man. The “I” is a successful white muscular western man setting up standards about the norm. The norm in this video is that I, and if there is a greater we in this video, that we, or us, are working on worshipping that I. We are that I. We are worshipping that I. We are greater than I. But I am the norm in this surf video. I am the norm that we are surfing on, or trying not to get whitewashed in. I am the direction in this commercial. I am not free.
Monday, December 15, 2014
Wednesday, July 2, 2014
|A picture from the surf organization Walking on Waters website. Christian surfers travelling the world while trying to bring people into conversion.|
Friday, June 13, 2014
Wednesday, April 30, 2014
Partiet (med Navid Modiri) - Flippa ur
The guys in this video might not be surfers, but they are somehow surfing the world. The pictures in the music video are from a volunteer trip.
Tuesday, March 25, 2014
Tuesday, February 11, 2014
Tuesday, January 28, 2014
The picture to the left is from Nairobi Kenya and was posted on instagram by the user asplundj. It brought up an immense amount of reactions on twitter a few days ago. This was because people considered it as a racist act and photo. The two white guys in the picture are from Sweden. Johan Asplund, which is to the right in the picture, is wearing a t-shirt with the text: BEVARA NEGERBOLLEN. Translated into English it means literally: SAVE THE NIGGER BALL. And the word negerboll (nigger ball/negro ball) has earlier been used as the common name for a Swedish dessert and sweet that is balls made on cacao as one of the ingredients. These guys demonstrate through the t-shirt in the picture that they are fighting for the right to be allowed to "continue" to say, and name this dessert, negro/nigger balls.
But why do they fight for such a thing? What does it really benefit the world if those two privileged guys are allowed (which they already are in a way) to express themselves with words that by others can be perceived as insulting, offensive and racist. Chocolate ball (chokladboll) is a more appropriate name and common in Sweden today.
Tuesday, December 3, 2013
Friday, November 29, 2013
Monday, November 25, 2013
- Privilege is when you think something is not a problem because its not a problem to you personally.
- A prerequisite to fight for a group / minority you do not belong to is understanding how your own privileges works.
- The attractive parts of surfing is not wrong. Problems are present in dominance by naturalization, thinking about yourself as pure & neutral.
Wednesday, November 20, 2013
Tuesday, October 8, 2013
STNC: It's about the position and role. Who is mobile and free and who is getting frozen solid. Anyone who can move more freely, such as a surfer who travels the world, has advantage in matters of representation when holding the camera. From such a free floating position, it is easier to control the representation of the 'other', the influence of photography and the performative power. It is also very much about his/her own identity by consuming the environment as an "aesthetic surface." The power lies in the ability for geographical movement but manifests itself through pictures and stories. Whose stories are told through these images and why? What is the purpose of the image photographed from this tuktuk ride? In general it is very often photographs that manifest the photographer's role and identity.
STNC: Yes, that’s a way of putting it. But somehow that is also problematic. Since we need to find ways of getting everyone able to be observers alike. Not just the free traveling surfer. In Surfers are The New Colonialists I am observing the surfer and the surfers gaze. I do this to find ways of challenging very unequal perspectives.