A sample from William Gibson's Idoru, in which I think he really articulates what I have been trying to tap into regarding professional athletes, the nature of their celebrity, and how their art catalyzes the production of vast masses of data by others. His point in this sample, and as an underlying subtext of the book, seems to me that Rez and Lo (and by my extension, professional athletes) are very much high-tech constructs just like the Idoru — the only difference being that they have a corporeal basis in "reality" while the Idoru's corporeality is an "architecture of articulated longing" and is thus distributed amongst its consumers around the world. In Mr. Gibson's words (bold emphasis added):

Drift. Down through deltas of former girlfriends, degrees of confirmation of girlfriendhood, personal sightings of Rez or Lo together with whichever woman in whatever public place, each account illuminated with the importance the event had held for whoever had posted it. This being for Laney the most peculiar aspect of this data, the perspective in which these two loomed. Human in every detail but then not so. Everything scrupulously, fanatically accurate, probably, but always assembled around the hollow armature of celebrity. He could see celebrity here, not like Kathy's idea of a primal substance, but as a paradoxical quality inherent in the substance of the world. He saw that the quantity of data accumulated here by the band's fans was much greater than everything the band themselves had ever generated. And their actual art, the music and the videos, was the merest fragment of that.


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