Sound is a primary issue in the lives of skateboarders, study shows

Skateboarders develop the skill to tune into the noise of urban surfaces. They both hear and feel noise and this means images and videos alone are a poor insight into the sport. They use sound to verify the success of their manoeuvres, judge the veracity and capacity of surfaces for use and as a social cue. For some the sensory overload of skateboarding is therapeutic and it helps them connect with others skating nearby.

But the research also shows there is a "skatesound paradox" -- skateboarders are aware of the negative impacts of the sound they make on some people nearby and alter their behaviour in some circumstances to counteract this.

Skateboarders who took part in the research described the sound of the sport as both unpleasant and lovely. For some it was a critical part of the experience, and a therapeutic sensory aid to those who identified as neurodiverse.

The findings demonstrate how the visually spectacular sport has a rich sensory world not accessible by just watching the sport. Skateboarders actually hear and feel what they are doing, and through skatesound can understand and appreciate what others are doing.

Dr Paul O'Connor, from the University of Exeter, interviewed 18 adult skateboarders aged between 19 and 51. Participants had an average of 12 years skateboarding experience. The most novice skateboarder aged 22 had only three years of experience, in contrast to a 44-year-old participant who has been skateboarding for 36 years. Seven of the participants were from the UK, three from the USA, three from France, two from Canada, and one from Sweden and Germany.

The research also identifies how skatesound was an inclusive experience for some who may feel marginalised or uninspired by more rigid and institutionalised sports. Three of the participants wore hearing aids, however only one used hearing aids while skateboarding. Four participants also reported some diagnosis that placed them on a sensory spectrum related to either autism or ADHD, or a combination of the two.

Dr O'Connor said: "Skateboarders spoke of their love for the sound of skateboarding yet also described it as noisy and abrasive. Many of the respondents described the challenging sound of skateboarding in evocative sensory terms, such as 'clattering' 'the sound of drills and angle grinders', 'an irritant', the sound of 'beer bottle on beer bottle', of 'bone on concrete', 'rolling, rough, smooth tickling in my ear', and 'rough and in your face. Loud in the best way'.

"This meant they sometimes chose not to skate near homes, or noisy tunnels, or felt overwhelmed by the claustrophobic monotonous soundscape of skateparks.

"Skateboarders know that their sound is unpleasant. But they also recognise its importance. Next time you are frustrated by the noise of skateboarders practicing their skills in the local neighbourhood, remind yourself that they know they are noisy. You might also remind yourself that they are likely in the throes of deep sensory learning, a meditative calming of the modern malady of the wandering mind, and above all bonding with friends."

One very accomplished skateboarder, Alfie said tuning into the rhythm and flow of skatesound had enabled him to become a more empathetic person. He spoke of how his sensory engagement with skateboarding had helped him deal with anxiety, find pleasure, and become more self-aware of his neurodiversity.

Roughly half of the participants were against skateboarding while listening to music through headphones while skateboarding because it was anti-social and because the sport is a communal activity. Gavin felt so strongly about this that he would approach people wearing headphones while skateboarding and ask them to remove their headphones and come join in the session with him and his friends, to engage socially. Eddy said he couldn't imagine skateboarding with ear buds in because of the danger.

Dr O'Connor said: "Those who did chose to listen to headphones had manifold reasons for doing so. Some, like 22-year-old Andy, simply wanted music to accentuate his focus and stoke, while Fiona used headphones as a social barrier when she was the only female skateboarder on the session and wanted to enhance her confidence. In contrast Steph used headphones to battle the sensory overload of skatesound that was particularly prevalent in indoor skateparks."

The research, carried out with colleagues Professor Brian Glenney and Dr Max Boutin, also used elements of the Boutin's 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 merely a toy or sports object but can also be an ear beneath the feet.