an olympiad is a unit of time

olympiad

Light Cycle Inscription

spectacle bank

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."

detailing, digits, painting the corners

catcher-trans

"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)

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"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)

Common

common

"It begins with the mass deportations. 25,000 runners packaged onto a fleet of school buses as neatly as you can say 'logistics'. They are being shipped to another town for processing — 26.2 miles away, to be exact — and yet the overwhelming sense in the air right now is one of optimism. An affirmative energy of nervous dialogue markedly contrasts the monologue of radical dividualization that steers the proceedings. Bright yellow sponsor bags, which hold those personal possessions one hopes will make the return journey, are clutched in every hand. An inversion has taken place: these overmen&women are the new figures of Agamben's camp logic, and yet they couldn't be happier. In some ways, they run for us all."

(Hunter Thompson Blanchot, I'm All In for the Disaster, p.22)

PEDiatrics

nba-vitamins

Endocolonization. What is appropriate and inappropriate in terms of ingested performance enhancers for the athletes of today and tomorrow? The paradox is born in the stars but finds greater resolution under the watch of the medical gaze. Modern sport is still the illusion of truth, after all.

_____

(speaking of medical gazes, thanks to MD for spotting this . . . get it? :{ )

flight of the mecha butterflies

Imago

With its lilting and stuttering, consider the (mecha) butterfly as part of an aesthetico-political topology of movement through gesture and language — passing through the free radical, to the busker, the jester, and finally to Paolo Virno's joke, which effectively "changes topics" in conversation and may be considered a form of innovative action in surveillant/spectacular societies dominated by language. In this topological sense, not only are the "logico-linguistic" resources of jokes important (as with Virno), but also the movements of the jester or joker, the gestures and delivery that allow for the topical change to occur (as with the butterfly).

~

The butterfly is relatively ambivalent to the local striations of anthropocentric territories (city streets, lot plans, the domestic home), save for an interest in those affordances offered by other objects within these striated spaces (flower beds, vegetable gardens, shaded areas). For the butterfly, in this sense, space is always "smooth", or at least its particular attractions and connections are not mapped in gridly fashion: it lilts and stutters from stopping point to stopping point, a nomadic line avant la lettre, but perhaps even more illustrative to us perceptually-conceptually as it moves in its delicate awkwardness volumetrically, lifting the nomadic line off the canvas or the cave wall or the desert route for understanding in other dimensional spaces.

~

The jester, on the other hand, figures prominently in the medieval court. Offering "witty" counsel to the king or queen through jokes (and other forms of performance), the jester is that one who attempts to provoke a minor shift in perspectival viewpoints — from on high to down low. As the feudal court apparatus is transduced to the even more striated and biunivocal relations of the chess board, serfs and pawns get their due while the jester is left behind. But in tegwar chess, or the societies of control, the rules are modulating with every move. We find the perfect opportunity for the (re)introduction of the jester and performative jokery into the game — a powerful piece on the board so long as it does not seek to enlarge its own image or invest in the credit.