"There is always in sport an appropriative component. In reality sport is a free transformation of the worldly environment into the supporting element of the action. This fact makes it creative like art. The environment may be a field of snow, an Alpine slope. To see it is already to possess it. In itself it is already apprehended by sight as a symbol of being. It represents pure exteriority, radical spatiality; its undifferentiation, its monotony, and its whiteness manifest the absolute nudity of substance; it is the in-itself which is only in-itself, the being of the phenomenon, which being is manifested suddenly outside all phenomena. At the same time its solid immobility expresses the permanence and the objective resistance of the In-itself, its opacity and its impenetrability. Yet this first intuitive enjoyment can not suffice me.
"That pure in-itself, comparable to the absolute, intelligible plenum of Cartesian extension, fascinates me as the pure appearance of the not-me; What I wish precisely is that this in-itself might be a sort of emanation of myself while still remaining in itself. This is the meaning even of the snowmen and snowballs which children-make; the goal is to “do something out of snow”; that is, to impose on it a form which adheres so deeply to the matter that the matter appears to exist for the sake of the form. But if I approach, if I want to establish an appropriative contact with the field of snow, everything is changed. Its scale of being is modified; it exists bit by bit instead of existing in vast spaces; stains, brush, and crevices come to individualize each square inch. At the same time its solidity melts into water. I sink into the snow up to my knees; if I pick some up with my hands, it turns to liquid in my fingers; it runs off; there is nothing left of it. The in-itself is transformed into nothingness. My dream of appropriating the snow vanishes at the same moment. Moreover I do not know what to do with this snow which I have just come to see close at hand. I can not get hold of the field; I can not even reconstitute it as that substantial total which offered itself to my eyes and which has abruptly, doubly collapsed.
"To ski means not only to enable me to make rapid movements and to acquire a technical skill, nor is it merely to play by increasing according to my whim the speed or difficulties of the course; it is also to enable me to possess this field of Snow. At present I am doing something to it. That means that by my very activity as a skier, I am changing the matter and meaning of the snow. From the fact that now in my course it appears to me as a slope to go down, it finds again a continuity and a unity which it had lost. It is at the moment connective tissue. It is included between two limiting terms; it unites the point of departure with the point of arrival. Since in the descent I do not consider it in itself, bit by bit, but am always fixing on a point to be reached beyond the position which I now occupy, it does not collapse into an infinity of individual details but is traversed toward the point which I assign myself. This traversal is not only an activity of movement; it is also and especially a synthetic activity of organization and connection; I spread the skiing field before me in the same way that the geometrician, according to Kant, can apprehend a straight line only by drawing one. Furthermore this organization is marginal and not focal; it is not for itself and in itself that the field of snow is unified; the goal, posited and clearly perceived, the object of my attention is the spot at the edge of the field where I shall arrive. The snowy space is massed underneath implicitly; its cohesion is that of the blank space understood in the interior of a circumference, for example, when I look at the black line of the circle without paying explicit attention to its surface. And precisely because I maintain it marginal, implicit, and understood, it adapts itself to me, I have it well in hand; I pass beyond it toward its end just as a man hanging a tapestry passes beyond the hammer which he uses, toward its end, which is to nail an arras on the wall.
"No appropriation can be more complete than this instrumental appropriation; the synthetic activity of appropriation is here a technical activity of utilization. The upsurge of the snow is the matter of my act in the same way that the upswing of the hammer is the pure fulfillment of the hammering. At the same time I have chosen a certain point of view in order to apprehend this snowy slope: this point of view is a determined speed, which emanates from me, which I can increase or diminish as I like; through it the field traversed is constituted as a definite object, entirely distinct from what is would be at another speed. The speed organizes the ensembles at will; a specific object does or does not form a part of a particular group according to whether I have or have not taken a particular speed. (Think, for example, of Provence seen “on foot;” “by car,” “by train,” “by bicycle.” It offers as many different aspects according to whether or not Beziers is one hour, a morning’s trip, or two days distant from Narbonne: that is, according to whether Narbonne is isolated and posited for itself with its environs or whether it constitutes a coherent group with Beziers and Sete, for example. In this last case Narbonne’s relation to the sea is directly accessible to intuition; in the other it is denied; it can form the object only of a pure concept. It is I myself then who give form to the field of snow by the free speed which I give myself. But at the same time I am acting upon my matter. The speed is not limited to imposing a form on a matter given from the outside; it creates its matter. The snow, which sank under my weight when I walked, which melted into water when I tried to pick it up, solidifies suddenly under the action of my speed; it supports me. It is not that I have lost sight of its lightness, its non-substantiality, its perpetual evanescence. Quite the contrary. It is precisely that lightness, that evanescence, that secret liquidity which ‘hold me up; that is, which condense and melt in order to support me. This is because I hold a special relation of appropriation with the snow: sliding. This relation we will study later in detail. But at the moment we can grasp its essential meaning. We think of sliding as remaining on the surface. This is inexact; to be sure, I only skim the surface, and this skimming in itself is worth a whole study. Nevertheless I realize a synthesis which has depth. I realize that the bed of snow organizes itself in its lowest depths in order to hold me up; the sliding is action at a distance; it assures my mastery over the material without my needing to plunge into that material and engulf myself in it in order to overcome it. To slide is the opposite of taking root. The root is already half assimilated into the earth which nourishes it; it is a living concretion of the earth; it can utilize the earth only by making itself earth; that is, by submitting itself, in a sense, to the matter which it wishes to utilize. Sliding, on the contrary, realizes a material unity in depth without penetrating farther than the surface; it is like the dreaded master who does not need to insist nor to raise his voice in order to be obeyed. An admirable picture of power. From this comes that famous advice: “Slide, mortals, don’t bear down!” This does not mean “Stay on the surface, don’t go deeply into things,” but on the contrary, “Realize syntheses in depth without compromising yourself.”
"Sliding is appropriation precisely because the synthesis of support realized by the speed is valid only for the slider and during the actual time when he is sliding. The solidity of the snow is effective only for me, is sensible only to me; it is a secret which the snow releases to me alone and which is already no longer true behind my back. Sliding realizes a strictly individual relation with matter, an historical relation; the matter reassembles itself and solidifies in order to hold me up, and it falls back exhausted and scattered behind me. Thus by my passage I have realized that which is unique for me. The ideal for sliding then is a sliding which does not leave any trace. It is sliding on water with a rowboat or motor boat or especially with water skis which, though recently invented, represent from this point of view the ideal limit of aquatic sports. Sliding on snow is already less perfect; there is a trace behind me by which I am compromised, however light it may be. Sliding on ice, which scratches the ice and finds a matter already organized, is very inferior, and if people continue to do it despite all this, it is for other reasons. Hence that slight disappointment which always seizes us when we see behind us the imprints which our skis have left on the snow. How much better it would be if the snow re-formed itself as we passed over it! Besides when we let ourselves slide down the slope, we are accustomed to the illusion of not making any mark; we ask the snow to behave like that water which secretly it is. Thus the sliding appears as identical with a continuous creation. The speed is comparable to consciousness and here symbolizes consciousness. While it exists, it effects in the material the birth of a deep quality which lives only so long as the speed exists, a sort of reassembling which conquers its indifferent exteriority and which falls back like a blade of grass behind the moving slider. The informing unification and synthetic condensation of the field of snow, which masses itself into an instrumental organization, which is utilized, like the hammer or the anvil, and which docilely adapts itself to an action which understands it and fulfills it; a continued and creative action on the very matter of the snow; the solidification of the snowy mass by the sliding; the similarity of the snow to the water which gives support, docile and without memory, or to the naked body of the woman, which the caress leaves intact and troubled in its inmost depths: such is the action of the skier on the real. But at the same time the snow remains impenetrable and out of reach; in one sense the action of the skier only develops its potentialities. The skier makes it produce what it can produce; the homogeneous, solid matter releases for him a solidity and homogeneity only through the act of the sportsman, but this solidity and this homogeneity dwell as properties enclosed in the matter. This synthesis of self and not-self which the sportsman’s action here realizes is expressed, as in the case of speculative knowledge and the work of art, by the affirmation of the right of the skier over the snow. It is my field of snow; I have traversed it a hundred times, a hundred times I have through my speed effected the birth of this force of condensation and support; it is mine."
— J.-P. Sartre, From Being and Nothingness---------
