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The sounds produced by skateboards, or skatesounds, are a common basis of complaint among the urban public and yet a source of inspiration and joy for skateboarding participants. These opposing responses to skatesound have escaped scholarly attention due to skateboarding’s visuocentric culture, yet this disagreement is significant in planning for city-built skateparks, registering public complaints of skateboarders in city spaces, and adding hostile architecture like skate stoppers, which often pivot on this polarity of reactions to skatesounds. We present a spectrum of theoretical responses of skatesound to dispel these reactions, including subjectivism, semiotics, soundscapes, and texturology. We argue that for some people skatesounds may be merely subjective with either a positive or negative valence. For others, skatesound is associated with pro-social or anti-social behaviors. For some, skatesound is both associative and provides wayfinding information about a city. Lastly, we introduce a novel theory of texturology: that skateboarders possess a unique sensory knowledge of the surface materials and textures of the city through skatesound, a knowledge specific to skateboarding.

The sonic spectrums of skateboarding: from polarity to plurality