involution: a phallic object and its envelopment, the relation seemingly turned upon itself; rhythms and waves and particles reconfigured; breath blows the resonant signal that stimulates production.
the only thing that appears to be the same is the prophylactic device.
A basketball player gets whistled for a technical foul and a free throw is awarded to the other team as a penalty. Almost always outside the normative range of what constitutes a foul in the game — actually making bodily contact with an athlete on the opposing team — the technical is precisely what it says it is: a technicality that has been broken in the juridical structure that is the basketball league proper, most often a behavioural infraction against what is considered good sportsmanship. Some of these juridical prohibitions are universal across leagues, while some are unique to the league itself.
(Usually in the courts of mainstream civil society, it is one who is declared not guilty who gets off on a technicality. Not so in basketball, in which the technicality is always on, always assigned as a penalty against which there is next to no opportunity for recourse or exoneration.)
A basketball player steps up to the line to shoot the free throw. Though it is meant to be an award or restitution for the technicality that has been broken, it is actually quite a difficult shot. This is because the restitution exists somehow outside the normal context of play: the shooter goes to the line alone while the rest of the players must stand and watch out at midcourt, unlike the regular free throw situation in which players from each team line up in staggered formation along both sides of the painted key to rebound the potentially missed shot.
But there is no rebound to be had with the technicality. Again it exists outside of game play, which is to say it exists outside of the game's historical time. And further, it exists outside of its usual relations: while not having the players line up for a rebound is meant to be less distracting for the shooter, their absence is actually quite viscerally felt, a denuding of the multiple body's co-composition that leaves the one shooting very naked and alone.
So on the one hand a player gets whistled for a technicality, but it is paradoxically the one who has been offended (or their agent) who will face the intensity of exposure in exacting a restitution. And the purportedly cybernetic technique of shooting free throws reveals its limits in turn: it is the messiness and chaos of co-present bodies — even if they are competitors — that lubricates this technical machine towards its successful realization.
We have discussed earlier that the squash court at the University of Chicago offered the site of the first successful critical nuclear reaction in 1942 — thus implying a genealogical link between the material specificity of a sporting space and that required for this most uncertain of laboratory experiments. Chicago Pile-1, the mound of graphite bricks and wooden timbers that constituted the first nuclear reactor, found itself nested neatly within the squash court, the only place on campus with thick enough walls and a sufficiently elevated ceiling to house the experiment.
But it bears keeping in mind that a second architectural nesting takes place, the squash court proper being located underneath the bleachers at Stagg Field football stadium. In other words, the form of the stadium offered the space for a squash court, which thereafter offered space for Enrico Fermi and the Manhattan Project team members.
Put differently, a particular energetic system that is the football game becomes sufficiently popular when "converted" to or "expressed" as a semiosis that there is sufficient demand for larger-scale bleacher seating to be constructed. A new self-contained energetic system emerges in this fold: two bodies orbiting around a tiny rubber part-subject that pings around the concrete bunker, perhaps an allegorical metastability for the rupture that is to come.
The marathon course is drawn, inscribed within the established grids of an urban core. New barriers are created, temporarily cutting off certain flows (cars, bicycles, pedestrians) in order to facilitate others: a gated conduit for the gaited competitors who will run on this crisp gray morning.
This cut creates a new surface, or perhaps we can say it multiplies surfaces — it is surfacing, actively producing itself in the proliferating striations of the new territory. Perhaps we can say it is for security, or perhaps we can say that security offers the alibi for a folding of spectacle upon itself, the intestinal guts of vectoral capitalism turned outwards as if Lyotard's great ephemeral skin revealing the shit that really makes the machinery slicken.
Glide then, runners: extend your energetics into this libidinal surface as you race to that cloaca called a finish line. The light cycles of sponsorship precede your motorcade at the flanks, both shiny and festering with their spectacular repetition and insatiable appetite. But remember this digestive cookie from Guattari as footstep and breath connect to eyes and stomach: "It's on this level of investments of desire that there are reserves of capacity to express the revolt."
"Of course he and she can as easily be she and he (and everything in between). The point is not so much the singular biological body that performs the role of catcher, but rather the catcher's affective modulation of pitching, hitting and adjudicating bodies through a proximity of flesh resonance that we have come to identify as the feminine — expressed in the signal of the called pitch. Ronell's figure of the switchboard operator looms present in this context, though the linguistic signals of telecommunication have been replaced, at least in part, by a more subtle consideration of co-resonance with these three other performing bodies."
(sportsbabel, march 2010)
"Of course, the direct human agency involved to trigger the commands and activate the card stunt emerges as a fourth required element to follow the first three, which during the history of college football is a responsibility that has fallen to the cheerleading corps. Given the gendered histories of cheerleading in football, we might inquire into the specific ways that women were involved with triggering these program activation commands. It seems not a stretch to read the figure of the card stunt leader in resonance with both Kittler's figure of the typist and Ronell's figure of the switchboard operator — that is, one (woman) who can both inscribe a new flow of coded data as well as one who can connect an existing flow-in-potential, suggesting further that the history of technotext is always already a feminist one."
(sportsbabel, february 2010)
We speak often of the relative rigidity of late modern sports, of the hard lines that constitute their disciplinary diagrams and rigorous production of athletic bodies and somewhat statistically-determinate "uncertain" outcomes. We are aware that these lines are in fact legislated as planes and that the sporting space is usually regulated as a volume rather than strictly a spectacular surface.
But it bears remembering that if the stadium is the factory of postmodern sporting production, then it is a certain plasticity which allows one form of assembly to substitute for another on the production line. Put differently, if the NFL is so easily able to transfer production to Wembley Stadium in London, or the FA is likewise able to travel to Washington for production at RFK, it is not only due to a relative congruity or topology between the rectangles that constitute gridiron and association football codes, respectively, but also to certain malleabilities in material and discursive space.
That turfgrass grows sufficiently long for it to be mowed and erase the very "painterly" conditions that govern production in other forms of sporting assembly, for example, is highly relevant to this modularity — an artificial green ecology in the service of a plastic injection moulding called sporting spectacle. And the televisual possibilities of programmed camera angles, intensive lighting, overlay graphics and audio commentary to constitute a coherent and consistent sporting narrative from anywhere in the world only adds to this plastic capability.
Indeed, what is most potentially intractable in this calculation of malleability is the plasticity of the live crowd in attendance at the factory. To what degree can this fleshy thirdness between sporting capital and televisual spectator mediate and suture together the filaments of an experience both synthetically fibrous and viscerally empirical? This is what is at stake in the economic decision to produce or shut down in non-local contexts under the contemporary conditions of plasticity.
(thank you to amy for reminding me about "craptacular" or substandard production under certain plastic conditions. ;)