Sport (and its various mediations) perhaps best expresses that "interdimensional" experience of Being-in-the-City within its logic, offering at once in the same "subjectivity" both flâneur (player) and surveillance functions (diagrammatic x's and o's, archival game video).
"Whatever is not captured by resolution is invisible," as Hito Steyerl suggests, but in professional sports at least, decisions of 'truth' are still being made upon this invisibility through instant replay — decisions complicated not only by resolution but also by frame rate and the interstices between 'stills' of a moving game.
"On the surface of things, water offers us this paradox: it is at once capable of gently propagating a wavy ripple to near-infinity, and yet it is also surprisingly resilient or responsive to dramatic changes in amplitude. A peculiar elasticity, then, this distributed and complex musicality in which we-swim."
(Jock Cousteaux, Aqua Rara, p.69)
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. ;)
resurfacing, re: surfacing –> once again here's what the post-disciplinary enclosure looks like . . . all that is required now is for these technologies to get "better" and be merged with irregular image flows such as with public surveillance systems in London or Chicago . . .
sport and political technology –> panhaptic, simulated:
- multiple cameras 'speaking' to one another
- markerless motion capture
- extrusion of x,y,z coordinates to create 3D image
- timestamped events
- unique person IDs
- historical databases of typical body movements
- merging of 3D image with statistics
- expected vs. actual outcome analysis
- econometric querying