"The practice of sport is a human right. Every individual must have the possibility of practicing sport, without discrimination of any kind and in the Olympic spirit, which requires mutual understanding with a spirit of friendship, solidarity and fair play."
(Olympic Charter, as quoted by Google)
The NHL is the top hockey league in the world, and if we are looking at this from a sports production standpoint this means we are describing the most highly skilled manufacture of competition and uncertain hockey outcomes on the planet, as an ongoing concern — which is to say as a matter of accumulation rather than the elite event-based production of the Olympics.
But of course the game is also about the production of spectacle, of audience aggregation and synthetic storylines and target marketing — and thus the most highly skilled manufacture of sporting gesture and its transmission, of affective receptivity, of qualified fanaticism and quantified consumerism.
For most of the 20th century, as John Bale points out, the former has meant an increasingly hygienic space of sporting production, in which the values of achievement sport most desired by accumulation find their way into the daily churn of the professional sport industry. In a sense, it was not simply a standardization that mattered but the removal of noise which could otherwise contaminate the truth of the results.
And for most of the 20th century spectacle played along, developing an increasingly elaborate logistics of perception to disguise production altogether and present the viscera of pure, competitive play-at-work. The surgicality of the endeavour is even more pronounced here, with thousands of sensory cuts rendered and stitched together to somehow produce the skin of a sporting Gesamtkunstwerk.
Which is what makes the NHL's Winter Classic so interesting: by playing the game outdoors and subject to the elements (snow, wind, glare), not only is a particular sporting nostalgia of backyard shinny and pond hockey revived, but spectacle itself becomes more spectacular by explicitly refusing the hygienic paradigm of modern sport. Noise is introduced, friction enters the system, and by the standards of achievement sport the event's game production occurs at a shockingly substandard level.
There is a refusal of hygiene in the play-at-work space, but only by cutting through the spatiotemporal fold and admitting the past. A futural noise, friction or filth would still be unimaginable here.
If there is in fact a zone in which the past-present of the Winter Classic meets the future, it remains bound with that other element of achievement sport — the record. Only the record of interest here is one of accumulation: the largest crowd in hockey history ever to witness a live contest, as 105,491 jammed into the University of Michigan football stadium to watch the game.
And hence the flaw in Bale's analysis: for him, pace Baudrillard and Virilio, it was the television audience that was always right and so to perfectly satisfy the hygienic requirements of achievement sport the spectators at the live event had to be removed, leaving behind only an inert ludic container in which the game could be played, fair play assesed, and television imagery produced. But it appears that accumulation is never so teleological, the crowd is precisely necessary to give the alibi to spectacle, and it is hygienic achievement which can be removed from the equation and left behind without losing a truth verdict in the process.
In this case, witness-noise makes a virtue of production-noise to set a nostalgic record, though one wonders what the hyperbolic curve will demand as it increasingly detaches from its counterpart in linear accumulation.
involution: a phallic object and its envelopment, the relation seemingly turned upon itself; rhythms and waves and particles reconfigured; breath blows the resonant signal that stimulates production.
the only thing that appears to be the same is the prophylactic device.
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."
"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)
"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)