Article
Culture
Sport
Wildness
4 min read

The surfers seeking the stoke of cold water enchantment

The reverence of waves breaks over beach-bums and ancient monks alike.

Riley is a writer and journalist, originally from Oregon. 

A sufer carries a longboard into the waves
Surfing Oregon's coast.
Megan Nixon on Unsplash.

Long before Malibu or the post-industrial North Shore of Oahu, surfing held an integral role in Pacific Island societies. As Ben Finney and James Houston explain, surfing was a religious practice for ancient Hawaiians. With stocks of morning glory, they lashed the ocean’s surface, chanting “Arise, great surfs from Kahiki.” This compelled the spirits - animating the swells - to foster good waves, therefore good “stoke” (to use a modern idiom). 

When I first started to surf, I detected such enchantment. Almost nothing brought me closer to transcendence. On good days, my Sabbath rituals would be galvanized by peeling waves paired with a cold saltwater plunge, somewhat like those Russian Orthodox plunges on January 6th (minus the ice).  

And despite the rapid secularization of the West, surfing remains a precious religious ritual. For Christians, Buddhists, New Age spiritualists, etc.—anyone who meets the ocean on her own terms. All speak with reverence about the waves. 

Surfers tend to be deeply serious people, distanced from their hash-smoking, dread-headed depictions in pop culture. Some might argue that they take themselves too seriously, one day conducting American counterculture and the next protesting the Vietnam War on the grounds that war disrupts the proverbial Tao. 

  Such is the genius of Francis Ford Coppola’s iconic surfing motif from the film Apocalypse Now. Here, Lieutenant Colonel Bill Kilgore, trying to find a rational explanation for the Vietnam War, declares “Charlie don’t surf!” with an odd tone of vulnerable bravado. Somewhere in this declaration, we find a longing for peace and transcendence, despite the chorus of machine guns and napalm that inevitably follow. For him, surfing was an antidote to chaos—a sort of victorious peace ritual following the horrors of battle.  

Despite the chaos––constant chorus of swells and seagull cries––the ocean remains noiseless in a spiritual sense. She quiets anyone nearby.

Jaimal Yogis, author of Saltwater Buddha, forthrightly connects surfing to enlightenment. In Hawaii, he studied dharma and traditional philosophy, living like Jack Kerouac and Kelly Slater combined: “[mastering] all the waves (internal and external).” There exist many paths to enlightenment, Yogis adds in his follow-up A Surfer’s Guide to Buddhism. Surfing is just one route through the ocean of suffering, albeit more appealing than ancient asceticism. 

Surfing, Peter Kreeft claims, is akin to Buddhism in that they both contain unique words for their unique “highs”: ‘stoke’ and Nirvana. In a little book called I Surf, Therefore I Am, Kreeft regards surfers as Aristotelian disciples, chasing life’s greatest good (happiness) before anything else. In that respect, surfers live truthfully to the Ethics.  

The activity of surfing, he says, transports a person into timeless happiness. ‘Stoke’ is a mystical ebullience, ecstasy of a sacred kind because ‘stoke’ is not a fleeting thing. It sustains itself both during and after the activity which creates it––a pure and lasting joy. “Maybe surfing brings us back to the timelessness of Eden,” Kreeft says. 

Ancient Celtic monks found the seashore ideal for spiritual refuge, regarding their pilgrimage to the sea as following Christ into the desert. Visiting the ruins of one of these seaside monasteries, Dr. Ed Newell (author of The Sacramental Sea), felt himself overcome by its solitude. The ascetic life on the isle of Papa Stronsay seemed spiritually claustrophobic, he says.  

These monks were not surfers (to our knowledge). They were beach bums. They recognized a simple, solemn truth about the sea: its intense solitude. Despite the chaos––constant chorus of swells and seagull cries––the ocean remains noiseless in a spiritual sense. She quiets anyone nearby, leaving them, as Kierkegaard puts it, silent and “nothing before God.” If we can learn from the lilies and the birds then surely waves and pelicans offer similar wisdom. 

When I moved away from the coast for school, this was the most intense realization. Now, my life is full of constant noise. I thirst for that vast silence that nourished me back home. And while Kreeft is right, that ‘stoke’ never truly dissolves, adjusting to life away from the waves has been a terrible trial. During the first week in the dorms, the thought of rolling swells kept me awake and staring at the ceiling. I would instinctively open my window, only to realize that there was no distant sound of crashing waves to put me to sleep. There was, and has been, something dislodged ever since leaving the sea. 

And so, today, I skipped class and stood at the edge of the Pacific Ocean. A fierce storm – bearing the name La Ninia – raged across the Oregon Coast. Sideways rain pelted my face. Though coated in a 5mm wetsuit, my fingers were already painfully numb before stepping into the sea, which was probably 5°-10°C. 

I paddled past the breaking waves and rediscovered what was missing. The part of myself that never made it to university. I ditched my nine-foot fiberglass longboard for a moment and thought about nothing: floating, staring into the blankness of the gray sky. My body went numb and became weightless, the existential burdens vacating with each rise and fall of the swell. Once again, I was alone and silent before God. And despite losing myself in the vastness––the overwhelming silence––of that moment, I found myself entirely. 

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Column
Culture
Digital
Film & TV
Justice
4 min read

Data scientists should stop watching Minority Report and start watching The Shawshank Redemption

A justice ministry’s prejudicial database leaves no room for redemption.

George is a visiting fellow at the London School of Economics and an Anglican priest.

Tom Cruise gestures with his fingers in an e-glove in front of his face
Tom Cruise takes the measure.
20th Century Fox.

The go-to for any news item about using AI to predict crimes before they happen is Steven Spielberg’s Minority Report from 2002, starring Tom Cruise as a futuristic cop, who employs human “precogs” as clairvoyants to get ahead of the villains. 

So, I’m far from the first to name-check it as showing the dystopian future that the UK’s Ministry of Justice heralds with its test project to “explore alternative and innovative data science techniques to risk assessment of homicide.” 

That use of “homicide”, rather than the more British “murder”, is telling, almost like the Ministry wonks have just watched the movie. The pressure group Statewatch has no doubt where they’re heading, with data being used on people who may never have been convicted of an offence and “will code in bias towards racialised and low-income communities.” 

Spielberg was always ahead of the curve. But my fear is less the chilling dystopia that Statewatch sees in its precog. Actually, I’m more worried about the past in this context, or rather in how we treat the past. 

If I haven’t to date done anything wrong, then I have committed no offence. I am literally innocent. And that’s an absolute. An interpretation of data that indicates that I’m more likely to commit a crime than others is neither here (in my conscience) nor there (in the judicial system). 

Furthermore, there’s a theological point. If it is so, as we’re told, that no one is without sin, then we’re all culpable in the pasts that we have lived so far, but the future contains all we have to play for.  

To suggest that some of us are more likely to screw up in that future than others is very dangerously deterministic. It’s redolent of Calvinism’s doctrine of the “elect”, those who have already been marked for salvation and eternal bliss, regardless of what they do or don’t do in this life, while the rest of us, however virtuous our mortal deeds might be, will rot in hell. 

Neither Calvin’s determinism nor the Ministry of Justice’s prejudicial database leave any room for redemption. They’re just trying to identify events that will definitely (the former) or are likely to (the latter) happen. Conversely, we live in hope (for some of us a sure and certain hope) of a future in which we can be redeemed, whatever we have done in the past. 

And that’s why I find Minority Report an unsatisfactory analogy for the development of real-life precrime technology. It is a film that is only about determinism, which leaves no room for either free-will or redemption. And that’s applying a form of intelligence that is truly, er, artificial. 

The vital thing is that hope is fulfilled, the prisoners make it to their paradise after worthless lives spent in jail. Justice is seen to be done.

A more helpful movie, richer in its development of these themes – and not just because it’s got the word that I favour in its title - is 1994’s The Shawshank Redemption, based on a novel by Stephen King. Here we have the idea explored that the past isn’t only irrelevant to our futures, but doesn’t even really exist in time in relation to the future. 

It’s bursting with more religious themes even than Clint Eastwood’s spaghetti westerns, which are really only the righteous saviour turning up to defend flawed goodies from evil baddies, again and again. For a start, The Shawshank Redemption is set in a prison, where whole lives are spent atoning for crimes that have or haven’t been committed. See? 

Lifers who are released after decades struggle to cope or kill themselves. The central character, a messianic figure, lives in hope with his convict friend of reaching a beach in the Virgin Islands, while the prison warden describes himself as “the light of the world”, but is assisted by his prisoners in money-laundering – washing clean – his ill-gotten gains. 

I could go on. But the vital thing is that hope is fulfilled, the prisoners make it to their paradise after worthless lives spent in jail. Justice is seen to be done. But the important thing here is that there is no pre-crime determinism. The future, which often looks hopeless, is rolling out towards the possibility of redemption, which ultimately becomes the only certain reality. 

One can dwell on movie plots too long. They are only, if you’ll excuse the pun, projections of life. But it is nonetheless irritating both that a government department with Justice in its title can believe it worthwhile to explore how it might deploy AI to predict who tomorrow’s criminals are likely to be and its critics condemn it by using the wrong dramatic analogies. 

Minority Report was a dystopian thriller that suggests that the future can only be changed by human intervention. The Shawshank Redemption showed us that inextinguishable human hope is in a future we can’t control, but can depend on.     

Anyone who is interested in justice, especially those who work in a ministry for it, might benefit from downloading it.  

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