The practice of parkour in urban spaces by young people, especially those who call themselves traceurs, illustrates how identities are formed in an ephemeral way by reinterpreting spaces in the city – briefly and without leaving a trace. However, in a sort of paradox, these interventions are registered in the socio-digital spectrum, tokenistically anchoring and incorporating them into conversations and social interactions. This work aims to explain the practice of the sport called parkour as a socio-semiotic phenomenon. We (...) have used some zones of Mexico City as a specific case for our approach. The foregoing leads to the conclusion that the meaning of parkour goes beyond its recreational role and places it as a relevant piece of identity for excluded urban social groups – even though these practices have been appropriated by marketing strategies. Our approach will use a cultural semiotics perspective, as well as direct observations and interviews as research techniques. (shrink)

In this article, I argue that parkour can be understood as a way to recapture moments of non-alienated human experience in urban space. I draw on Hartmut Rosa’s theory of temporally caused alienati...

The aim of this paper is to contribute to the discussion of expertise and skilled movement in sport by analysing the bodily practice of learning a new movement at a high level of skill in parkour. Based on Sennett’s theory of craftsmanship and an ethnographic field study with experienced practitioners, the analysis offers insight into the skilful, contextual and unique practice of parkour, and contributes to the renewed discussion of consciousness in sport at a high level of skill. (...) With Sennett’s concept of craftsmanship, it is possible to describe and grasp important aspects of obstacles put up, repetitions and material consciousness in developing perceptual and physical skills in parkour. The parkour craftsmen conduct a constant dialogue between concrete, material practices and thinking. It is argued in the article that Sennett’s ideas about craftsmanship are, in many ways, similar to Dreyfus and Dreyfus’ concept of mastery, but are less elitist and exclusive than the theory of skill acquisition... (shrink)

Most academic publications refer to Parkour as a subversive and embodied tactic that challenges hegemonic discourses of discipline and control. Architecture becomes the playful ground where new ways to move take form. These approaches rarely address the material and embodied relations that occur in these practices and remain on the discursive plane of cultural signifiers. A theory of movement between bodies as the founding aspect of Parkour unfolds alternative concepts of body, space, time and movement beyond the discursive. (...) Movement becomes the leitmotif for a re-conceptualization of the relations between subjects and objects and abandons their division. With the example of Parkour, I will challenge anthropocentric approaches toward embodiment and instead foreground open-ended shifting configurations of places and their relation to movement. Parkour re-shapes rigid concepts of places and their human encounter through movement. Through its encounter with obstacles Parkour activates the silent potential for movement located in the relation between bodies and thus reaches beyond material boundaries (e.g., a wall). As a deterritorializing practice, I will use Parkour to re-consider the relations between different bodies such as architectural configurations, subjects and their urban ecologies to develop a relational model for movement to shape our everyday encounters with matter. (shrink)

Introduction. Observing the production and consumer area of modern cinematography makes it possible to draw conclusions about the value dominants of modern society, to conduct its sociocultural analysis. Cinema, both auteur and mass, is a way of reflecting and modeling the society spiritual state and its analysis makes it possible to draw quite serious and justified philosophical and social conclusions. The film in a philosophical sense is ontologized by the dominant intention of the era. Such a dominant intention of modernity (...) is hedonism. Pleasure, enjoyment, happiness, according to the humanities, is the basic values of the 21st century society. Cinema is the most comprehensive reaction to the needs of hedonism, since hedonistic prerequisites are to some degree laid down in its technical (movement, photographic phenomenology) and social nature (art and entertainment). In this regard, it seems relevant to conduct a philosophical analysis of the ontological level of modern cinema. The aim of the study is to conduct a philosophical analysis of the ontological level of modern cinema; identify ontological models, variations and combinations of which provide its artistic diversity. Methods: the authors use the general scientific methods of analysis and synthesis, the phenomenological method, since they identify the sensory intentions that underlie modern cinema. The authors also use the hermeneutic method, since they reveal the hidden meanings of the film, determined by the time and conditions of its creation, as well as the semiotic approach, which makes it possible to analyze the structural-semiotic whole of the film. The scientific novelty of the study lies in the fact that the authors analyze films from philosophical aspects, and not just cultural studies, as is customary. In modern cinema, the authors look for a reflection of the “social soul”, identify those intentions that underlie modern cinema, both auteur and mass. This makes it possible to deduce a typology of film models that have not previously been applied to the analysis of the film process. Results. During the analysis, the authors developed a hedonistic-ontological typology of cinematic models, identified five generative models of cinema, four of which have a hedonistic orientation: an alimentary model that pleases the recipient by intensively stimulating his perceptual sphere; a parkour model that gives pleasure to light and unhindered movement, minimizing the severity and resistance of the environment; an arcade model that provides the viewer the pleasure of victory through virtual immersion in the ups and downs of the “action film”; a detective model that gives the viewer pleasure through the removal of cognitive uncertainty. The fifth model, tentatively called existential, should lead the viewer into a complex philosophical state of being-with-self-self, an experience of one’s own fulfillment, associated with the experience of suffering. However, due to the hedonistic orientations of modern culture, this model is not relevant in the first decades of the 21st century. Conclusions. Philosophical analysis of modern cinema has revealed that at the ontological level it is based on the philosophy of hedonism. Modern cinema delivers the following types of pleasures to the recipient: enjoyment of the flesh of the world, enjoyment of bodily freedom in motion, enjoyment of peace, cognitive enjoyment. (shrink)