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).
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.
"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)
Photo postcard of squash court aboard R.M.S. Olympic, 1911.