friday nite lites

is the classic scoreboard the lite-brite of the sportocracy?

certainly the only patterns that may be punctured on its face are those that inscribe the rectilinear number-patterns of time and score. but how could they do such a thing? numbers are round and luscious and flowing and curvilinear: gestural markings on a surface, yes, though never meant to be pinpricks of light programmed for a screen-based display (and today's jumbotron fonts are not gestures of the same order, either).

Lite-Brite Scoreboard

if "all production produces production," as deleuze and guattari suggest, then we must trace the flows: it was the card stunt that taught us about these coded sign systems infiltrating the gridded spaces of the sports stadium almost a century ago. there, too, gesture was captured, though with them light was merely reflected to the viewing eye, not produced in its own right. with the electronic scoreboard, on the other hand, it is the produced light of monochromatic incandescent bulbs that is always in the service of the official record: time and produced output, or what we call score.

Scoreboard Font

two squares of potential in this lite-brite pattern. what about all the space in between, or the enclosure within the enclosure? what if the "invisible" layer of black paper and its prescribed pattern was removed from the scoreboard? what if its brite lites were pushed into the holes in freely formed patterns? what if the lites could illuminate from positions embedded in the plastic grid itself?

Courtesy of Colleen Wolstenholme

colleen wolstenholme
victory lane (2004) — line of scrimmage (2004) — slap shot (2008)

what if the scoreboard lite-brite could be layered upon itself — perhaps repeatedly — such that multiple games were being recorded at the same time — perhaps one giving the cover of reduced exposure to the other?



capital demands the
alarm cut switch hit
time clock punch back into
status update network signal.

capital desires the
sleep less reflex,
or Rx,
for psychoanalysis is uncertain
if dreaming tears an aperture
through the skin of total spectacle.

stay awake with us just a little longer,
there's always a basketball doubleheader
you can nap in front of on sunday afternoon.
the sabbath is a television set of rest, is it not?

(the lakers are
beating the celtics
by 2 in the Q4,
but i could swear i
was just watching philly
play the knicks.)

how quickly from deep sleep
to surface intension?
has baby got the bends?
we don't have any News from our Friends.

keep swimming,
keep breaking water.
stay in the dawning, and
wonder at the dawning, and
warm oneself to the dawning of
that birth as it becomes,
eternal return minus the one
being held at the store
on layaway.

The Image Aftermarket

Courtesy of NBA Classic

(that memory box . . .)

Watching snippets of a so-called "classic" NBA basketball game on television recently, it dawns on me that the way players on the floor move their bodies at this highest level of the sport has changed dramatically over the past forty years. The athletes are bigger, faster and stronger. The skills they execute become that much more challenging and precise in order to keep pace with the situation.

It appears that gestural language has modulated far more rapidly than its spoken or written counterparts, does it not?

And yet interestingly the play-by-play and colour narratives — the spoken interpretations of action unfolding on the court — do not sound like they have changed much at all. Or perhaps differently, the eye+ear of the narrated game has obscured the eye+proprioception of the sympathetic audience.

One can often recycle the televised image of "classic" games precisely for the reason that many people cannot remember their original outcomes. And yet the characters all remain familiar to the home televiewer, much like Macbeth, James Bond, or Lisa Simpson. In this sense, the "classic" game may exist as a memory marker for certain fans, while for others it potentially offers an experience of nostalgia blended with a "new" outcome.

The game plays itself over and over again without having to additionally pay the (by now old and retired) players. The images themselves do the work: call it untouched labour.

corpoReal, mateReal

frequencies and transparencies

Six propositions from Bracha Ettinger on the nature of the matrixial borderspace (p.84):

1. "In the matrixial stratum of subjectivization subjectivity is an encounter. Partial-subjects co-emerge and co-fade through retuning and transformations via external/internal borderlinks with-in and with-out."

2. "A trembling, volatile experience of differentiation-in-co-emergence treading on the heals of fluctuations in distance-in-proximity accompanied by a minimal and diffuse matrixial affect is primary and prenatal, and is shaped and transformed by feminine trauma and phantasy linked to female bodily specificity on the level of the Real."

3. "A metramorphosis is multidirectional; it does not grow out of processes belonging to symbiotic fusion or autism, but grows parallel to them."

4. "The matrixial stratum of subjectivization with its co-emerging I and unknown non-I exists side by side with the phallic stratum and its emerging-self (either separate or fused) versus the world/the Other."

5. "In the prenatal phase, the matrixial stratum is more active in the process of subjectivizing than the phallic stratum, whereas in the postnatal life it is the phallic stratum that dominates while the matrixial one recedes. Thus, the matrixial objet a is not a derivation of the phallic objet a, neither is it its 'opposite.' Rather, it has an autonomous source in feminine difference. It either precedes (probably) or co-exists with the phallic objet a."

6. "After birth, when the partners of the originary matrix are no longer as unknown to one another as they were before, the relations-without-relating are partly transformed and set on a matrixial 'track.' They are also partly transformed into moments of relating and moments of nonrelating, joining in that way the phallic track of fusion/rejection. Such phallic instances, which also existed in the prenatal state alongside matrixial instances, are gradually reinforced by postnatal and then post-Oedipal experience."

frequencies and transparencies

The moving body finds itself bound in a relational tango, to borrow the abstract diagram of intersubjective micropolitics suggested by Erin Manning. Or, already being several, it finds itself in a series of moebius part-dances with other individuals that attempt not to cross footsteps: as one body releases from the other in tango, given the space from which it may choose to return (anxiety), a differential space is opened in which other part-dances and their relational fibres may intersect or form knots and entanglements.

The body thus finds itself in dances of relation, yes, but also in separate dances of disentanglement — the unweaving of knotty potentials and their somatic consequences (summer 2009).

frequencies and transparencies

our proximity also implies that thresholds of opacity may offer cover to another, if only partial. what is the ratio of exposure for a couple-pairing: is it asymmetrical? (one hopes not overly so. or overtly so?) what if the group is a threesome or a several: how do the ratios of exposure, transparency+opacity modulate in such events? when considering proximity in this sense, err in the analysis towards the temporal rather than the spatial: virilio reminds us that exposure is a time-based phenomenon, and thus thresholds of opacity may often be spatially-displaced, yet proximate (sept. 2010).

frequencies and transparencies

(a delayed response to after atalanta: no, i wouldn't just say fuck all identity politics, though perhaps we should?)

body, surfing, waves

Colonel Fornssler Surfs Amsterdam

(thoughts on opacity thresholds as heterochronias and borderlinking phenomena)

"The matrixial impossibility of not-sharing with the other is profoundly fragilizing; it demands its price, but also gives rise to its own beauty. Apart from the time-space of art, male subjects are more radically split from this archaic site of virtuality and potentiality, since their link with it stays on the archaic outside, which is a too-early that is forever too-late for accessing in the Real the separate body of the individual as a whole subject. Men, however, enter in contact with the matrixial time and site through transference relations and via art, when they are affected, like women, by joining-in-difference with others. As an artistic filter, the matrixial apparatus serves whoever can yield and tolerate this fragile, fragmented, and dispersed mode of co-becoming. The various nonconscious pathways that are opened to and from the originary matrixial difference linked to femaleness are thus not limited to women only. This difference does, however, carry a special resonance for women because the matrixial nonconscious pathways accumulate, filter, and echo their bodily vibrations and experiences."

– Bracha Ettinger, "Weaving a Woman Artist with-in the Matrixial Encounter Event,"
The Matrixial Borderspace, p.182

security, blankets, some assembly required

Metamorphosus Interruptusexposure, transparency, opacity - hopscotch threshold"patchwork, for its part, may display equivalents to themes, symmetries, and resonance that approximate it to embroidery. but the fact remains that its space is not at all constituted in the same way: there is no center; its basic motif ('block') is composed of a single element; the recurrence of this element frees uniquely rhythmic values distinct from the harmonies of embroidery" (d+g, atp, 476). the cut must be complemented by the crossfade. Mimetic PolycarbonInscriptions and Artefacts "in the electric age we wear all mankind as our skins" (mcluhan, understanding media). this is my politics of touch.
i hope you like it.
"whether from the point of view of structure or that of development, the Voice as a psychic element can only be accounted for in relation to an entirely different psychic sphere. when the matrixial cavity of passage becomes a matrixial acoustic-resonance camera obscura, partial-objects and partial-subjects are not separated by a cut but are rather borderlinked by frequencies, waves, resonance, and vibrations. they share and are shared by the same vibrating and resonating environment, where the inside is outside and the outside inside" (ettinger, matrixial borderspace, 186). lines, flight, labouringTreatise on Table TennisB-Side Wins Again the "closer" the skin of spectacle is to the animal body proper, the more virile the transmission. "the borderline between I and non-I as co-poietic poles of the same vibrating string are transformed into a threshold and transgressed. instead of the objet a of the Voice, I therefore suggest speaking of a metramorphic link a — a matrixial voice. even more effectively than the Gaze, the Voice as a matrixial erotic antenna for psychic emission and reception testifies to the metramorphic processes of transformation in unconscious shared cavity. the psychic voice-link opens in us a matrixial time-and-space of encounter where, like in a resonance-cavity, inside and outside vibrate together" (ettinger, matrixial borderspace, 186).Silence is Goldengesturing-gesturing "it is as though a smooth space emanated, sprang from a striated space, but not without a correlation between the two, a recapitulation of one in the other, a furtherance of one through the other. yet the complex difference persists. patchwork, in conformity with migration, whose degree of affinity with nomadism it shares, is not only named after trajectories, but 'represents' trajectories, becomes inseparable from speed or movement in an open space" (d+g, atp, 526).Double-Eightscapital needs to insinuate itself into every conversation so that the singular body may be more fully laid bare for corporate invasion. "the matrixial resonance camera obscura where metramorphic event-encounters take place locates the inside as a shareable space-and-time and the outside as in-corporated-without-fusion" (ettinger, matrixial borderspace, 186).