splitscreen personality

diagram

survey

pov

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).

imperattive

text everyone now
you can hear the thunder fans
such a tough call
what material did you expect?
all it takes is a split second
the rusty razor does it again
they deserved this victory
they came out and were moving
that's exactly what happened

 

but that's besides the point
not much you can say
nice combination play
it's a speed bump in the middle of the field
hashtag not ideal
the obvious choice
coming in at number twenty
the arbiters of justice
and it'll live forever, 'cause it was on television

 

that usually means we're talking about missed calls
i mean get it together
i got four words for you: 'from the red line'
it doesn't give anyone special treatment
nothing should stop you from getting outside
there's no place i'd rather be
on the warning track
there it is right there
i'm just so tired

 

we call this in the playground the flat tire
summer tires, ditching that spare tire
the wait is almost over
a bang bang call
could have gone either way
he gets a favourable matchup
you don't have to be the villain to need a getaway car
don't worry loves; the cavalry's here

 

fuels better than water
show us your summer highlight reel
warriors got it going all of a sudden
lost it again

 

that's an absolute bomb
we are all sprinters
you wanna score early against anybody
please observe a moment of silence
get in the game
this isn't the type of opportunity that just appears
it's what's next
your focus defines you
the pace can wear you down
apply today
i don't know if there's a choice

nv s ble

NBA Control Center

"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.

seamly

seamly

There is an interesting nexus in basketball that exists between the seams of the ball as a particular functional outcome of industrial design and manufacture; the seams of the ball as a particular means to optimize 'grip' or purchase between a player's shooting hand, the ball itself, and the potential for backspin on a shot proper; and the seams of the ball as a visual indicator to determine any change of spin during slow-motion instant replays (and the correlate determination of who may have touched the ball last on an out-of-bounds call). In this sense we may describe a particular and peculiar line taken from symmetry, efficiency and aesthetics to an omniperspectival optic regime and its corresponding apparatus of truth.

Aspects of Curvature

ratios

When a sport with pronounced flight trajectories such a basketball is shot for television in 4:3 ratio and then displayed in a stretched 16:9 widescreen format, the paths look very distorted compared to what one is used to seeing in more native televisual or live-viewing contexts. This isn't necessarily true for all curves in the game. Our ability as TV spectators to "adapt" to the "distorted" or "compressed" athletic bodies at play (and their "newly-béziered" contours) is relatively quick and seamless, as is adjusting to the new shape of the three-point arc relative to the rest of the lines which describe the basketball court.

But the flight path of the ball upon being shot — particularly from deeper distances with their longer trajectories — remains stubborn to such perceptual recalibrations by the televiewer. The arc of the shot appears flatter and in turns generates a foreshortening, particularly to the most experienced eyes. The "true" flight of the ball, when seen in the elongated 16:9 widescreen format, continually appears as if it will undershoot the target before ultimately swishing through the net.

Not subject or object, then, but traject and aspect — new relational opportunities for the visually uncanny.

manufactory

NBA: the ultimate manufactory of plastic.

motorized plastic, flavoured plastic, plastic with hooks, translucent plastic, stacey augmon plastic!!, consistent plastic, synesthetic plastic, narrative plastic, timecoded plastic, erotoplastic, etc.plastic . . .