nested time

clock

three regimes of nested time in team sport: football's play clock (counts down inside of game time but outside of game action); basketball's shot clock (counts down inside of game time and inside of game action); and soccer's stoppage time (counts up inside of game time but outside of game action).

Association

longex

Miami Heat

OKC Thunder
Tampa Bay Lightning

Vancouver Whitecaps
New York Islanders
Seattle Storm

Miami Hurricanes

San Jose Earthquakes
Colorado Avalanche

Phoenix Suns
Calgary Flames
Chicago Fire

Injection Moulding

injection moulding

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.

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(thank you to amy for reminding me about "craptacular" or substandard production under certain plastic conditions. ;)

all in for contagion. (biogram/biopsy)

all in for contagion

a 21st century portrait

a 21st century portrait

Anamorphosis, Stereoreality and the Correct Gaze

On each of the baselines of the basketball court at the Air Canada Centre this season lies an oddly designed painted emblem. It is quite difficult to determine exactly what these emblems represent — that is, until they are seen from the perspective of the wide-angle camera lens on television. They appear to be lengthy three-dimensional sandwich boards, with the Raptors name emblazoned in red letters on a black background.

anamorphosis-raptorsanamorphosis-raptors

While the technique is new in North American professional sport, it has existed for years on football, cricket and rugby pitches around the world to expand a certain value proposition for corporate sponsors by rearranging the perceptual field of play. But the technique is even older than that: its proper name is perspectival anamorphosis, and its earliest usage dates back to paintings of the early Renaissance period.

Perspectival anamorphosis is a technique of producing a distorted projection, which requires the viewer to occupy a specific vantage point to reconstitute the image. With Hans Holbein's famous work The Ambassadors, for example, one must put one's eye at an acute angle to the bottom-left of the canvas, looking diagonally upward to reveal the skull that had been placed front and centre. According to the wikipedia entry, anamorphosis "made it possible to diffuse caricatures, erotic and scatologic scenes and scenes of sorcery for a confidential public" — sort of what we describe today as easter eggs, essentially, or hidden openings in the skin of a text.

Holbein - The Ambassadors

Hans Holbein the Younger
The Ambassadors
1533
oil on oak (with anamorphic detail on right)

One can imagine these anamorphic paintings fostering techniques of looking, of searching for irregularities in the tapestry of pigment and texture, of approaching the flat plane from variable distances and angles, of spending time with the work — and perhaps locating a hidden sign, an inside joke, or a covert message that would open new, polyvocal understandings within the text at hand. A samizdat of whispers to disseminate this approximate set of Euclidean grid coordinates: x and y on the canvas, the z of focal distance, and a vectorial gaze to complete the message.

Approximate coordinates: this will get you close, figure the rest out yourself.

Those who are in the know and those who perceive matters at a more surface level.

Sporting Empire resuscitates perspectival anamorphosis in a different fashion, more or less subversive depending on one's relationship to capital. The primary difference lies in the addition of a television camera to the assemblage of visibility. Technology itself is not new for anamorphosis as process: mirrors have been used for centuries to create certain effects that would lift the distorted image off the flat plane of inscription. But now the mirrors have been swallowed whole by the camera apparatus, then partially digested to form bits of reflection that transmit the image far and wide. A televisual anamorphosis that admits the possibility for movement — but only by the camera.

There is no longer a samizdat of whispers suggesting the approximate location of the anamorphic image. The correct gaze is already calibrated to the wide-angle camera shot that forms the dominant perspective from which one watches a basketball game on television, Holbein's skull replaced by the corporate brand of tribal affiliation in a networked attention economy. Or, if we are discussing those football, cricket and rugby matches broadcast elsewhere in the world, replaced by the logo of a corporate sponsor.

Put differently, the easter eggs have been metaphorically scrambled so that a more crystal clear signal may be delivered to the consumers at home.

"Those absent from the stadium are always right," Virilio was fond of saying, and the anamorphic Raptors image along the baseline merely confirms this proposition for most in attendance, who must certainly be growing more aware of their role as privileged television extras. The image makes no visual sense otherwise for this majority, but then again its function is less to see the game than to feel its unfolding as part of the crowd.

Why the anamorphic figure of a sandwich board? Why not a simple rectangle? This purportedly volumetric figure does not create perspective, but rather kills perspective — or at least attempts a sort of Euclidean nesting proposition in which one three-dimensional space (the stadium) is translated within the parameters of another (the television and its screen). One could be forgiven for thinking that those at home aren't in on the secret, though, and we must pretend the stadium still offers the most "authentic" experience of the game.

Meanwhile, capital closes off those holey spaces consonant with a program of skin tectonics.