Style exists at the flip of the moebius strip.
It is not a deliberate attempt to cheat, per se, but it is greater than the technical proficiency required to execute the skills of the sport. If it is too much of a variation from the technically proficient or encoded rules, then the referee calls an infraction and new rules are created or perhaps old ones modified (cf. Massumi).
Now imagine that the transludic flip of this moebius strip intersects (or is braided) with the flip of another one, which we shall understand as the dual surface of surveillance and spectacle.
Style belongs to both domains (or sets?): not only does it mediate between playing by the rules and cheating, but it is also the switch point at which the technical apparatus facilitating the surveillant gaze becomes the engine of sign value for the set of social relations that constitutes the athletic spectacle.
In other words, it is style (or virtuosity?) that has been appropriated from the common good and pressed into the service of capital, but it is perhaps style — and its complex emergence from the relational — that offers the possibility for the common to return, however temporarily.