In(Sub?)verted Architecture

I am hoping to take my Doctoral studies at the European Graduate School in the next few years and use my Global Village Basketball weekend for a dissertation project. I think that the key to my acceptance into the program lies in convincing the powers-that-be of the merits inherent in sport-as-art-form, and that despite our wildly different backgrounds, there is more in common rather than less.

With that in mind, I continue to plan for the day that I will pilot this event between two cities in Canada, porting the two gyms together into a networked meta-event. For the sake of argument I will name the two locations Halifax and Hamilton, since they represent two of the most passionate supporters of Canadian amateur basketball on the Canadian University Basketball Discussion List (whose moderator, Dale Stevens, knows a thing or two about community networking via the Internet). The networked aspect of the meta-event is explained below.

Fig. 1. Schematic diagram of modified panoptic stadium architecture.

Figure 1 shows the modified architecture of the Global Village Basketball playing arena. Large projection screens are mounted at each end of the basketball court and a videocamera is erected at Basket A. The projection schema of video feeds is as follows: Playing on Screen 1 in Halifax is the video from the Halifax game, which means that the artist/athletes will see life-size replicas of themselves when the game is at that end; playing on Screen 2 in Halifax will be the video feed from the Hamilton game as well as the score from the meta-event, which means that some of the time the Halifax artist/athletes will see life-size replicas of their counterparts in Hamilton (ie. when that game is in front of the camera).

Confusing? Think of it like this: at one end of the gym is a mirror, at the other end is a portal to the meta-event. In the first case, a simulation of the game at hand, and in the second, a simulacrum of a game that exists only in virtual space.

The cryptically panoptic stadium architecture of the sportocracy is inverted onto itself, artist/athletes are simultaneously participant/spectators, and 2,000 bodies are in motion describing the global-local dialectic.


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