Basketball Analytics (Take 2): Winning

I’m realizing from the feedback on my post about basketball analytics that the issues the phenomenon raises are more complex than what I’d thought or allowed for in that post.  In fact, they are too complex to properly examine in any single blog post.

Truthfully, all this has been part of a longer, academic project that has me very excited, very curious, and very impatient to know more. That impatience, led me to cast my “reflections and reservations” about analytics in an aura of understanding and conviction that belied my confusion and uncertainty and concealed the fact that I’m at the beginning of an open-ended process of discovery.

In fact, I have a lot to learn. I don’t at this point have a firm grasp of the methods of basketball analytics at this point, nor of how they are implemented institutionally.  I’m not sure what they might “mean” for the culture of basketball, nor, therefore, do I have a definitive opinion about them.  In all these areas, what I have are glimpses and impressions, partial comprehension, intuitions and half-formed thoughts, strongly felt but as yet poorly understood aversions and attractions, and questions I’m not entirely sure how to formulate.

At this point, I’m not even sure that it’s accurate to say that I have “reservations about analytics.” To be honest, I’m just ravenously curious to better understand analytics (both the reasoning and its institutional implementation) and how it harmonizes with or sits in tension with other facets of the culture of the sport that might be characterized as irreducibly “subjective” or “qualitative”.

Maybe this means I should keep my mouth shut until I figure it out. But—you guessed it—I don’t think so.  For one thing, maybe unfortunately for readers, I learn not only by reading and reflecting in solitude, but also by writing, both by the process of putting thoughts into words and having words shape my thoughts and by the process of considering the feedback of readers.  But also I believe, or at least hope, that my sharing that process with readers can enliven a broader conversation about the various complicated aspects of this issue. So let me make another pass at this, with greater care, humility, transparency, and respect for the complexity of the issues.

Some Premises

First, all my research into the history of basketball and its cultural accompaniments indicates that to grasp any element of the sport requires us to consider its relationship to the broader social context, beyond hoops, in which it has occurred. I’ve seen nothing yet to persuade me that the rise of analytics is any exception. My research has also confirmed what I believe by temperament: that the culture of basketball is just that—a culture. This means that we all contribute to it to varying degrees and in varying ways and that we all bear responsibility for the shape it’s in and the future directions it takes.

Second, here is a partial and inchoate list of issues (or terms or concepts) that I have come to think are in some way or another in play: quantification, statistical reasoning, probability, chance, prediction, beauty, knowledge, fact, Protestantism, aesthetics, emotion, economics, competition, winning, efficiency, discipline, innovation, creativity, order, chaos, big data, play, surveillance, ethics, labor, profit, capitalism, rules, the market, and value.

I view all these terms, considered both in and out of basketball, and each with its own history, as threads woven together into a complicated, dynamic, still unfolding fabric.  That fabric is basketball. That means it’s difficult for me to grasp the end of any particular thread and follow it without running into other threads running alongside or intersecting with it.

Thoughts and Questions on Winning

That said, I’ve got to start somewhere and for the moment I’m interested in winning, by which I mean, winning games as a goal for owners, coaches, players, fans, and other stakeholders in NBA basketball.  It appears that if winning is your goal, basketball analytics provides you with a set of methods for understanding how to do that in general and, if you’re smart, you can learn to adapt the insights provided by analytics to your personnel to achieve more wins given the current rules governing play and the laws and contracts governing the construction of teams.  Moreover, if you’re an owner, analytics also promises to generate those wins, as Daryl Morey put it in 2005, for less money. Winning, it seems, is valuable and valued, and so, like any valuable and valued thing, if you can get it more cheaply, all the better.

I’m not sure yet whether I want to try to question whether winning is a primary goal of everyone with a stake in NBA basketball. I wouldn’t know how to determine that, and anyway it does seem that winning is a primary goal for most of those (like owners and general managers) in a position to influence the way basketball gets played in the NBA, which really is more to the point.  And I’m guessing, though I’m not sure, that winning is their primary goal, among other reasons, because they presume that winning is a primary goal of most fans, who express that by spending money on the sport and so generate revenues for those decision makers.

But I do want to challenge the assumption that winning should be the primary goal and its frequently voiced corollary that it is natural for winning to be the primary goal where professional (or any other) sporting events are concerned. At the very least, I’d to make room in the conversation to ask some questions.

  • Is the drive to win really natural?
  • If not, how and by what forces did winning became the primary goal?
  • According to what criteria of rightness or goodness do we assert that winning should be the primary goal?
  • How were those criteria determined? And by who?
  • What impact, if any, does the primacy of winning have on the way professional basketball gets played?
  • What other aims do stakeholders bring to their engagement with NBA hoops?
  • What elements of play do these aims lead these stakeholders to value?
  • How are these aims and elements of play impacted, if at all, by the primacy of winning and the elements and styles of play valued by the drive to win?
  • Let’s say that I have a friend who worries that the drive to win, harnessed to the drive to make a profit, and capacitated by the powerful tools of basketball analytics, is tending toward a homogenization of the game by a process of “capitalist selection,” what should I tell my friend to do?

I have some thoughts about these questions, but I don’t want to take up too much time.  I realize there’s nothing terribly groundbreaking or provocative here.  But I’m hoping by taking it slow to invite reasoned conversation and to lay the groundwork for actually generating insight.  In any event, in my next post on the topic, I’ll to begin to explore these questions. . . . unless, of course, the questions change in the meantime.

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“Gladiators” (Reading In Praise of Athletic Beauty, Post 6)

Hans Gumbrecht continues his brief history of sports in the West by turning from the ancient Greek games at Olympia to the very different events held hundreds of years later at the Colosseum in Rome.  Gumbrecht’s account of this is divided between descriptions of these events and an interpretation of what allure they may have held for the tens of thousands of spectators who attended.

Gumbrech vividly fills out our often oversimplified stock images of these events.  Thus, a program of events, usually paid for by a sponsor to curry favor with the populace and organized by a hired planner (called an “editor”) might last several days and include Greek style athletic events, simulated hunts, chariot races, reenactments of historical battles, music, and, yes, as the culminating attraction, gladiatorial combat. Here, though Gumbrecht professes to be wishing to stress discontinuities in sport history, he notes the obvious ways in which these extravaganzas resemble our contemporary mega-events.

Detail of Circus Games from a Roman Mosaic Showing Amphitheater Scenes from Leptis Magna --- Image by © Roger Wood/CORBIS

Detail of Circus Games from a Roman Mosaic Showing Amphitheater Scenes from Leptis Magna — Image by © Roger Wood/CORBIS

The most interesting part of this section of the book is, I think, Gumbrecht’s speculation concerning what might have been fascinated Romans about this.  We tend to think it is a kind of frenzy of distraction and bloodlust.  But, as Gumbrecht informs us, modern research maintains that by a ratio of 10:1, vanquished combatants were not killed, but rather released. So it wasn’t likely to be the prospect of seeing some hapless possibly overmatched or outwitted fighter killed that made these battles the main event.

Gumbrecht:

Together with the initial asymmetry between the combatants, the moment of truth must have drawn the crowd’s attention exclusively toward not the victor but the loser, who—for a few moments at least–lived publicly in the face of death (p. 105)

And what they wanted to see, Gumbrecht argues (prefiguring some comments he will make in a later chapter describing our own contemporary fascination with suffering) is “composure, a face ‘frozen as ice,’ ‘hard as stone,’ impenetrable as a mask” (p 106).  The combat in itself therefore was less important, he claims, than the moment it led up to; the moment in which the defeated gladiator could be transfigured through his public stoicism in the face of death into a heroic “icon for the psychic strength required to brave human frailty” (p. 106).

Jerry West walks off the court after losing again in the 1969 NBA Finals.

Jerry West walks off the court after losing again in the 1969 NBA Finals.

Two aspects of this strike me as interesting.  The first is how strikingly familiar this attraction seems to me as a contemporary fan and student of sports cultures.  That is, not only is the stage spectacular mega-event context for the moment of truth somewhat continuous with modern sports, but so is appeal of the image of the human face overcoming the agony of coming to the limit point of physical destruction, mental stress, sheer exhaustion, or even simply tragic defeat.  Again, I’m a bit surprised to find that Gumbrecht’s own accounts, aimed at disrupting a “romantic view” of continuity between ancient and modern sports continue to show the opposite, at least as I understand them.

The other striking element of this is the important role played by competition in this scenario.  In his definition of athletics, Gumbrecht stressed the defining importance to his conception of athletics of arete (the striving for excellence) at the expense of agon (competition).  But here, it seems, excellence really doesn’t play much of a role and, even if competition is not the ultimate aim, it is a necessary catalyst to the staging of the moment that Gumbrecht believe was most fascinating to the ancient Roman spectator.

I’m interested in this because I’m continually trying to find ways to articulate my own sense that competition and the drive to win is essential to my enjoyment of sports, but not because winning (or losing) is especially interesting to me (even as a partisan of particular teams). It is because of all that competition sets in motion before, during, and after a contest.  In this too, I see more continuity than discontinuity between the fascination of modern sports and Gumbrecht’s description of sports in ancient times.

Basketball Analytics: Reflections and Reservations

Okay, here’s the short version for those require maximum efficiency (n=”the point”/number of words) in their reading environment:

At the heart of my reservations is my sense that value can be defined in many ways: economically, aesthetically, morally, to name just a few.  And that economic definitions of value in terms of efficiency productivity may be beginning to eclipse and drive out of the public conversation considerations of aesthetic and moral and other values, particularly when these appear to be at odds with economic value.  In short: some very beautiful (aesthetically valuable) things are not economically efficient.  I am worried that once we have allowed certain kinds of things that we value to be eclipsed, we could find ourselves in the position of having lost those kinds of things forever.

The rest of you, who enjoy the backroads of an intellectual journey, please carry on with my sincere thanks.

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Why I Hate “the Warriors”

I’m annoyed.  Here’s the thing:  I thought I was gonna write a quick explanation of why I hate the Warriors, hot take click bait for contrarians.

Because: I do, I hate them!  See, it’s easy for me to feel that, it’s always right there, seething under the surface, clamoring to be voiced. I hate the Warriors. That part is like falling off a log. But an explanation is a different kind of thing. For an explanation I have to think, and when that happens, at least for me, things get complicated.

Why do I hate the Warriors? What about them do I hate?  People ask me this. It’s fair. What’s to hate about a superb team made up of apparently likable players playing well individually and together? What’s to hate about ball movement or great shooting or winning or appearing to have fun? What’s to hate about Oakland having a great team?  What am I even talking about?! People ask me these very difficult questions. And I keep repeating, confirming the stereotype of the egghead academic, that it’s complicated.

Let’s start with what I don’t hate. I don’t hate Steph Curry. His skills are peerless, the precise, but seemingly effortless creativity with which he deploys them is joyful and awe striking, not to mention at times hilarious, and it  manifests at least as much dedication and hours of effort as I’ve ever admired in any other player.  I don’t hate Draymond Green and the ability to adapt to his environment by growing new capacities in leaps and bounds that he’s demonstrated as part of this team. Nor do I hate his brash, trash talking confidence. I don’t even hate the Warriors for beating the heroic LeBron James and the closest thing I have to a hometown club in the finals last year. I don’t hate their crisp pace, or their spacing, or their ball movement. I don’t hate three pointers in particular or great shooting in general. I love all these things. And yet…

And yet, basketball doesn’t just exist within the lines of the court. Basketball is also, for me anyway (and I would argue for anyone, whether they are aware of it or not), a set of stories, stories that convey (and influence) attitudes and beliefs and values. And basketball also is a set of broader societal forces and practices that find their way into the game, moving the minds and hearts and bodies of owners, general managers, coaches, players, fans, and the media. So that while I can watch and admire all that I described above, it’s simply not possible for me to do so without also experiencing feelings provoked by all the other things I can’t help but notice are in play when the Warriors take the floor. (By the way, that, in case you wondered, is why “the Warriors” is in scare quotes in my title.)

I’ve written about this before, so I won’t belabor the point at length, but I can’t help, I’m sorry, but be disturbed by what lurks between the lines of the collective adoration of Steph Curry. It’s not that his skills don’t deserve our admiration. They do, and I believe he is rightly considered the best basketball player alive at this moment.  It’s the way that many (I know: not all) in the media, in the corporate world, and in fandom convey their delight in his success (particularly when it involves licking a saber’s edge over the slain body of the last player they made into an object of worship, LeBron James).

I’m repelled, heretical though it may seem in our country, by the celebration of his Christianity, as though believing in Jesus were a talent or an accomplishment, or evidence of moral virtue, or, um, at all relevant to being a basketball player. And I wonder why in Jesus’s name we, as a culture, give a shit about what Steph believes. Don’t get me wrong: I don’t hate Christians or that Steph Curry is one. I hate that this fact ever appears to his credit in a story about basketball.  Ditto for his having an adorable child and loving her: happy for him that he has one, happy for her that he loves her. Stop talking about it (or start talking about all the NBA players, especially those who didn’t come from two parent households, who are also devoted to their kids).

I’m irritated (not repelled, I’m trying to be precise here) by the open-mouthed marveling at his physical stature, as though with every floater he drops in heavy traffic he were preschooler spelling a difficult word or moonwalking on his parents coffee table, as though he has somehow overcome greater obstacles than other great NBA players.  He’s not, and he has not.  Yes, he is not as tall as the average NBA player, nor as strong, but he’s neither the shortest nor the weakest of his peers. He’s 6-3, was raised amidst material privilege by both his parents (one a former NBA player and three-point specialist), and spent his childhood at NBA practices and games, surrounded and tutored by NBA players. That doesn’t make him a lock to become the greatest player alive (far from it, as I’ve already acknowledged: he’s clearly worked his ass off), but it also doesn’t make him a miraculously prodigious tiny street urchin who wandered in grubby off the street corner and began launching step back threes with unprecedented accuracy.

Lastly, I’m repelled (yes, repelled again), by what I view as a pernicious racist subtext in the cult of Steph Curry. Let me emphasize: I am not referring to conscious attitudes held by individuals who adore Steph Curry. I’m talking, as I have tried to demonstrate in my book, about the workings of collective, unconscious dispositions and desires that we have all inherited by American society and the history of basketball.  Unless we actively and explicitly combat these, then it becomes too easy for the celebration of a light-skinned, blue eyed, average-sized guard to come at the expense of dark-skinned, brown-eyed, over-sized black men.

Is any of this Steph’s fault? Mostly, I would say no, it’s not. But it is to the degree that he deliberately reinforces (or capitalizes upon) any of these elements of the narrative that has risen up around his brilliant on-court performances.  I leave it to others to judge whether he has or not, and with that, enough about the Church of Steph Curry.

Next up, I can’t watch the Warriors peerless team play and lights out three point shooting without seeing it as the most advanced current manifestation of a tide that has been slowly swelling in basketball over the last 10 years or so that prizes productive efficiency above all else. This feeling has spurred me to a more extensive research project into all the elements, conceptual, technological and otherwise that have driven this development; which is to say, I’m still learning a lot about it. But in my currently oversimplified understanding of the story it goes like this.

Inspired by the advances in the statistical analysis of baseball, some fans with statistical proficiency began to think about the game of basketball and how to quantify what looked to the rest of us more or less like pure, unquantifiable material flow. In doing so, they isolated “the possession” as the fundamental unit of basketball play and to begin to experiment with methods for calculating the productivity of teams (and individuals) in terms of how the various basketball actions they undertake affect the ability to generate points per possession.

Here let me say: of course they did! Because, I say as someone who is just trying these lenses on for size, it’s cool as hell to see the game through them! (I’m the guy, I’d like you to know, who kept stats of the imaginary NBA Finals series he played against his best friend in the driveway and I’m the guy whose Dad kept stats at everyone of his games and then printed out reams of analysis generated by his IBM XT.) I don’t hate numbers. I love numbers and wish I understood them better. So I don’t fault these individuals. I don’t attribute to them soulless, malign intentions. I turn the game into stories and appreciate it with words, they turn it into formulas and appreciate it through numbers. Live and let live, right?

Definitely.  But I worry that the beautiful curiosity, wild imagination, unorthodox vision, and intellectual energy driving their efforts came also to be recognized for its potential value to owners and general managers seeking to maximize and stabilize the return on their financial investment in players.  How, in essence, these individuals might be asking themselves, do I get the most points per possession for the fewest dollars? Now we’ve gone from a few teams hiring some statistically minded kids to analyze their box scores to a half-dozen cameras perched in every arena in the league surveilling the every movement of players and delivering a torrent of big data to small armies of analysts to crunch and transform into actionable information for executives, coaches, and yes, even players.

Of course, I don’t expect that capitalist owners (or their paid underlings) would prioritize questions other than those related to maximizing their ROI.  And, if you’re comfortable with having the unencumbered freight train of free market logic trundle along, you’re probably thinking I’m naive.  After all, this is just the nature of things in our world. Maybe so, but that doesn’t mean I have to like it, or its effects.

The Warriors, it seems to me, who lead the league in offensive efficiency, seem not only to be the incarnation of this tendency, but, by their success, seem also to be spurring other franchises to try to figure out how to do what they’ve done—as evidenced by Steph and others telling teams not to try.  This may be fine for many fans, whose favorite team either is the Warriors or is trying to become them. But for me it threatens to turn the NBA, which I have long loved to the degree that it presented me with an alternative to the corporatization of daily life in America, into the advance guard for ever more invasive attempts to make economic efficiency the mother of all values, to maximize productivity, and to create more reliable predictive models.

I don’t mind efficiency, I don’t mind productivity, and I don’t mind predictions. God knows I like to get my work done and to know what shit storm is coming around the bend so that I can prepare for it or avoid it.  But these are strong tides in which we are blithely romping in America today and if we don’t watch out, we may find that they’ve swept out to sea some other things that we used to like to have around: beauty, surprise, chance, and nonsense, to name just a few.

Which brings me to my final point, the relationship between the Warriors increasingly predictable domination of all competition and the annihilation of uncertainty and of the emotional complex (and marvelous, wondering stories) to which it gives rise.  Last week, the Warriors demolished the Cavaliers by 34, the Bulls by 31, and the Spurs by 30. Two of those teams (the Cavs and Spurs) were supposed to represent the only significant challenge to the inevitability of the Warriors winning a second consecutive title this year. So much for that. Even if Nate Silver at 538 only puts their chances of winning the title at 46 % (still 20 percentage points higher than the Spurs), I don’t know anybody who really thinks that the Warriors won’t repeat.  Unless, of course, they get hurt. But even I don’t wish for that.

But that’s kind of the point for me. I don’t want to have to wish for great athletes to get hurt so that uncertainty will be restored to the game. And, in basketball, unlike in my life, I like not knowing what will happen next, or how the story will end. I like the tension in my stomach and shoulders, the quickening of my pulse this uncertainty brings, and I like the emotions of fear, hope, elation, relief, despair associated with these physical signs.  I think of basketball as a story-generating machine, but really, it’s the uncertainty that basketball creates and the emotions that uncertainty provokes that are, I think, the source from which the basketball stories I love have always come from.

The Warriors are on pace to tie the 1996 Bulls record setting 72-10 regular season won-loss record. I’d have hated watching those Bulls teams if it weren’t for the utter unpredictability of Dennis Rodman and the sense his existence allowed that I didn’t know what was happen next, or, to put it another way, what the story would be tomorrow. Hell the very presence of Rodman’s brightly colored, pogo-stick body alongside MJ’s in a Bulls uniform was itself a kind of ceaseless source of nourishment for the imagination delighting in the fragile, fleeting materialization of the improbable

I think I know what the story will be tomorrow, and the day after, and in June, when the Warriors finish off their thoroughly probable title run.

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“Demigods” (Reading In Praise of Athletic Beauty, Post 5)

Having defined the key terms of his investigation, “praise,” “beauty,” and “athletics,” Hans Gumbrecht proceeds, in the “Discontinuities” section of his In Praise of Athletic Beauty, to provide an outline history of sports in the West.  But he wishes, he states from the outset, to disrupt what he calls the “romantic view” of this history which sees it as a continuous line from the ancient Olympics to the mega-events of today’s sports world (p. 85).

Instead, he argues, if you look at the history of sport from the vantage point of the variables he has already defined, “present-day sports are no longer the endpoint of one of htose long sagas of progress or decay that we have all read so many times” and this, he claims, is important because it “allows us to ask how it was possible—historically possible, I mean—that sports became so expansive and so important in our own time” (p. 88).

To that end, he will provide “brief sketches” of seven moments, each summed up with a one-word title.  Thus, “Demigods” refers to Ancient Greece, “Gladiators” to Ancient Rome, “Knights” to the middle ages, “Ruffians” to the Renaissance, “Sportsmen” to the 19th century, “Olympians” to the 20th century, and “Customers” to our own era. I’ll be covering all of these, but for today’s post, I’m gonna stick to just the first of these: “Demigods.”

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Olympia around 325 BCE

Gumbrecht begins by evoking an image of the arduous journey of days and even weeks undertaken by hundreds of athletes and tens of thousands of spectators to the village of Olympia every four years between 776 BCE and 394 BCE in order to ask the question that’s been driving most of his reflections thus far: ‘what the specific attraction of those five days spent at Zeus’ most famous sanctuary could have been? (p. 91). After briefly describing the lush, remote valley setting of Olympia, and the religious rituals and athletic contests unfolding over the five days of the games, Gumbrecht turns to the Odes of Pindar to get some answers to his question.

[For those whose knowledge of classical literature is sketchy, a little background information might be helpful here. Pindar of Thebes was a poet who lived from 518 BCE to probably 443 BCE. In the words of my colleague David Potter, in his work The Victor’s Crown: A History of Ancient Sport from Homer to Byzantium, “Pindar was a poet who became famous because he wrote poems about the famous. His subjects were people who won at one or another of the four great athletic festivals of his time” (The Victor’s Crown, p. 37). And, according to Donald Kyle in Sport and Spectacle in the Ancient World, Pindar was “the greatest writer of victory (epinikian) odes,” having “composed 45 poems for victors from 16 states” in which he articulated “an aristorcratic ideology of athletic preparation, competition, and victory.” (Sport and Spectacle, p. 203) Pindar’s Odes, then, are widely used by scholars trying to convey a sense of athletics in Greece during this period.]

Gumbrecht sees in Pindar an “obsessive focus on the joy and pride that came with athletic triumphs” (p. 96) and so draws from this the conclusion that for spectators must have been drawn to the experience of “being in the presence—in the physical presence—of the athletes’ shining bodies at the moment of their highest performance” (p. 96).  And he goes on to emphasize that this pleasure would be heightened by the “winner-take-all” emphasis at the games and, according to Gumbrecht, “in many nonathletic institutions in ancient Greece” (p. 96).

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It’s all about the W.

I understand that Gumbrecht’s emphasis on the appeal of physical presence echoes the importance he has already sought to bodies and presence in his more theoretical, definitional meditations. And, though I am no expert in classical literature and culture, what little I have read of Pindar’s Odes seem to support his conjecture.  I was, however, surprised to find Gumbrecht emphasize the central importance of winning (and so of competition) to the fascination of the games for spectators given that in his definition of athletics he argued that competition (agon) is secondary to excellence (arete) in athletics.  But perhaps for Gumbrecht this exemplifies the sort of “discontinuity” that he wants to highlight.  However, since I don’t really accept, theoretically or practically, his hierarchization (and occasional separation) of “excellence” and “competition”, his description here strikes me as quite familiar: “Winning and being remembered at Olympia gave athletes, their families, and their towns bragging rights that they used with a shamelessness” (p. 97). GoBlue.

The continuity between the ancient and the contemporary is even more evident when Gumbrecht turns to what was it in for the athletes: a springboard to success in other careers, fame, and fortune.  As he rightly concludes, in the ancient Olympic games “a particular version of professionalism had emerged long before the ideal of the ‘amateur’ in the modern Olympic tradition” (p. 98).  There’s an irony there involving, to put it bluntly, the hypocritical and ahistorical nonsense involved in deploying the category of the “amateur” as a moralizing bludgeon in the contemporary sporting universe, especially in the United States.

“But above all,” Gumbrecht comes to his conclusion, the games were appealing because “being in the presence of athletic greatness at Olympia meant being close to the gods.”  He reminds us that unlike in the monotheistic traditions, the line dividing the divide from the mundane was porous.  Rather than a transcendent deity perched on an immaterial throne, Greek gods roamed the earth and messed with human beings.

This, Gumbrecht argues, would dispose the Greek imagination to experience the athletic contests and achievements they witnessed as on a continuum with the divine attributes and battles with which they were familiar.

Because the boundaries that separated Greek gods from humans were so permeable, to aim for the highest level of physical perfection and to win an Olympic competition indeed elevated the victor to the status of a demigod (the ancient meaning of ‘hero’ is ‘demigod’). (p. 99)

To be in the immediate presence of such figures would understandably become an ecstatic experience, one that would make them feel “not just well but boundlessly well—about themselves, about the athletes, and about the divinely-infused world of which they were so intimately a part” (p. 99).  Again, I’m not expert enough to gainsay this explanation.  It seems plausible to me, if perhaps overly general and somewhat simplified.

But here again, I’m struck that Gumbrecht doesn’t seem, given his avowed dedication to establishing discontinuity, to recognize the continuity here between the classical and the contemporary.  Pretty much every experience and value he attributes to the ancient Greek spectator (or athlete, for that matter), I think we could find in contemporary athletics. This doesn’t of course mean that there is an unbroken line connecting them, some transhistorical essential experience of athletics that simply incarnates itself continuously in every society at every moment in time over 2,500 years.  But it does suggest that seeing some continuities might be more than just a romantic tic.  What’s more, it suggests that seeing continuities might as important to understanding the scope and nature of modern sport in the West as recognizing discontinuities.

I’ll leave you with this astonishing and hilarious exhibition of how, for us as well, at least for some—for many—of us, “religious ecstasy and athletic ecstasy became one.”

“Athletics” (Reading In Praise of Athletic Beauty, Post 4)

Having arrived at definitions of “beauty” and “praise,” Hans Gumbrecht moves in the final section of the “Definitions” chapter of In Praise of Athletic Beauty to the question to the task of defining athletic performance.  He wants to know whether “the specific form of athletic performance”—whatever that might turn out to be in his definition—produces “a specific form of aesthetic effect.”  To get there he moves through a number of steps, some complex, some dubious, some really illuminating, that I’m going to track here.  Along the way, he’ll introduce several important concepts: “presence,” “agon (competition),” “arete (striving for excellence),” “tragedy,” and “transfiguration.”

The first move is to shift is actually to redefine the task of definition itself from “thinking about sports as a set of phenomena that are all rooted in a common denominator” to imagining “sports as a network of practices related through” the philosopher Ludwig Wittgenstein’s notion of “family resemblance” in which “item A shares some features with item B, and item B shares some features with item C” so that “even though A and C may have no features in common, their shared resemblance to B keeps them all in the family” (p. 58-59). Gumbrecht hopes this more flexible approach will be more productive and encompassing and allow readers to focus on the relations connecting ostensibly very different kinds of athletic performance.  I support this move, and think it inventive and useful, though I wondered whether it would be useful to consider how we determine which features we use to establish the resemblances and whether or not some features should have more weight than others.  But I don’t finally think that doing so would undermine the value of the basic procedure.

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The next criteria for his definition is that it should do “justice to the aesthetic appeal” of sports from the spectator’s perspective.  To get at this, Gumbrecht first explores the meanings of “performance,” since “spectators in a stadium experience sports as a performance,” albeit one that differs from other kinds of performances like ballet, opera, or symphony. Here, Gumbrecht’s animus for much contemporary work in cultural studies rears up again, calling most intellectual accounts of performance “incoherent, to say the least” (p. 60) Not sure what he’s thinking of here, since he doesn’t cite anyone, and I imagine he’s probably wrong.  But it’s the kind of wrong that gets him somewhere interesting after all when he jumps away from “performance” per se and lands on “presence” as a “possible opening or approach to the problem [of how] to define athletics in such a way as to take into account its aesthetic attraction.

He begins by noting that “presence” derives from the Latin prae-esse meaning “to be in front of” in order to emphasize that presence, for him, involves “immediate sensual perceptions” and, in that sense, “always binds to time and place” (p. 62).  He elaborates this by going on to describe presence as a “dimension” (I think he means something like a facet of or a perspective on something) that can be contrasted to something he calls “the meaning” dimension.  He then describes this contrast along seven categories, an exercise I think might be easiest to grasp in the form of a table.

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This is quite condensed, I know, and does not really illuminate (or do justice to) Gumbrecht’s full exposition of the contrasts.  But he does provide the following, summary paragraph to try to get at the importance for him of the analysis:

Counter to many academic (and highly incompetent) ‘readings’ of sports, athletic competitions do not express anything and therefore do not offer anything to read. They fascinate us with bodies ‘that matter’ (a useful pun invented by the philosopher Judith Butler), bodies that adapt themselves to multiple forms and functions. By interpreting these bodily forms and functions and transforming them into meanings, we run the risk of reducing, if not destroying, the unique pleasure we take in athletic events. (pp. 68-69)

As before, though I suppose there may be something, in a theoretical sense, to Gumbrecht’s perception of the perils involved in the meaning dimension, I also think he throws the baby out with the bathwater.  I’m not sure (because, again, he offers no citations) what sort of incompetent academic readings he has in mind.  Its probably the most persistently perplexing aspect of this book so far, Gumbrecht’s complaints about scholarship in sports studies.  I’ll just stick to saying that I see no reason why a single account of an athletic performance cannot both “praise” (in the sense he already established of gratefully laying bare the complexity of forms involved and relating them to function and effect) and “interpret.”

In any event, Gumbrecht proposes “that we may call any human body movement a performance as long as we see it, predominantly at least, in the presence dimension” but quickly recognizes that “performance and athletics are not coextensive”: not every performance is an athletic performance.  So what makes sports performances unique and distinguishable among all performances?  Gumbrecht’s finds the answer in two ancient Greek concepts: “agon” (competition) and arete” (striving for excellence).

He elaborates his conception of agon by describing it as the “domestication of potentially violent fights and tensions through institutional frames of stable rules” whereas arete by contrast “means striving for excellence with the consequence (rather than the goal) of taking some type of performance to its individual or collective limits” (p. 70).  He argues that the latter is the dominant component of athletic performance, first, by reasoning that you can have arete without agon but not the other way around and second, to try to avoid making the praise of athletic beauty about praising competition rather than excellence, which, he fears “would confirm a vision of sports that has given them a bad reputation among so many intellectuals” (again, who is he reading that’s provoked such a powerful combination of fear and loathing?).

Once more, I simply see no reason to choose between them.  In some performances, one may predominate over the other, certainly.  But I see nothing intrinsic to athletic performance that should require the assertion of a definitive preference.  On the contrary, I would say that part of my fascination in sports is the complex intertwining of these two dimension in athletic performance.  Agon facilitates arete and vice-versa, without either one subsuming the other, as in this example, which I borrow from one of my students:

Either way, both agon and arete are pursued by athletes within formal constraints (rules) and informal conventions (fair play) that spur their effort and ingenuity and generate uncertainty and risk, which, in turn give rise—and here I think Gumbrecht does a great job—to  moments that we may experience as dramatic, epic, tragic, or heroic (he uses these terms pretty much interchangeably here) (p. 77).  What I like about the argument here is that the beauty of athletic performance can be found as easily in loss as in victory, something I’ve always found important to assert against the more commonplace emphasis on victory alone as the measure of athletic greatness.  But displacing the partisan centrality on victorious outcomes is not the same, I repeat, as displacing the importance of competition to the beauty of athletic performance.

Gumbrecht himself, oddly, seems tacitly to acknowledge this when he expounds upon what he means by drama.  He redescribed drama in terms of “transfiguration of great athletes within our immediate perception, and later, our memory.”  Transfiguration involves, he says, a removal from one’s original place (side note: it would be interesting to think this through with the concepts of metaphor and translation, both of which, in different ways, involve such movements).  Like Jesus or Elijah, then, he says, “athletic competition [my emphasis] can transfigure bodies and their movements, making them shine in the particular light of triumphant victory or tragic defeat.  Rather than assigning [again, why the dichotomy?] assigning specific meanings to bodies and their movements, victory or defeat gives them something like what the Christian tradition used to call a halo—and what today we might call an aura” (p. 78)  Instead of auras or halos, though, we recognize the transfigured athlete, or rather perhaps constitute the athlete’s transfiguration, by way of what he calls “the gesture”: “a specific, concise movement, a critical moment in a dramatic narrative” that makes “the pathos associated with these dramatic moments more visible and more memorable” (p. 79).  Gumbrecht concludes with a series of personal memories of such gestures, all of which, tellingly, come in defeat, an experience, of course, that would be impossible without agon and insignificant, perhaps, without the arete that was exhibited in the course of competition.

What The Answer Taught me About the Dismissal of David Blatt

As the Internet caught fire with reactions to the news, clever kids tripped over themselves to photoshop images of Tyronn Lue, who was once famously stepped over by Allen Iverson after a made jumper, stepping over David Blatt.  Okay, why not.  But in the midst of the mass euphoria/hysteria, there was Allen Iverson himself, stepping into the Twitterverse, as he rarely does, with this:

Screenshot 2016-01-23 13.05.23

Was it a joke? Was he being ironic? Maybe. I don’t know Allen Iverson personally so I couldn’t really tell you for sure.  But actually, I think that’s sort of the point.

To me, this Tweet, whatever Iverson may have intended, tells me that there is something deep and intimate shared by NBA players that we, who are not them, often fail to recognize. To us, Lue is mockable roadkill left in the wake of the speeding rebel genius Iverson (he was for me too until I saw this tweet). But Iverson seems to step in here to say that we don’t understand anything, or rather, that we and our views—to the degree that we fail to see their limitations—are rrelevant.

That’s why he addresses Lue directly.  “Love you” he says to Tyronn Lue in the presence of 980,000 followers.  He may have delighted in making that shot, and in stepping over Lue, but that delight, I believe I understand, was not at the expense of the loving bond they share, but rather a function of it.  I think it can be hard to understand that from the outside; hard to understand, I mean, what it must be to be among a group of a few hundred young black males suddenly experiencing riches and fame and adoration and pressure in a world that otherwise mostly seems to fear and despise them, at least if mass incarceration and police violence is any indication; hard to really grasp the solidarity that experience, those experiences, engender.

So what? Well, I’m not an NBA player, or a young black man, so I’m sure I can’t presume to say with any kind of certainty.  But from the vantage point that Iverson seemed to me to have pointed to here, and which I can at least intellectually comprehend, here’s how the whole thing with the Cavs, Blatt, and LeBron looks.

It’s probably fair to say that the expectations for, and pressure on, David Blatt changed after he accepted the job. He thought he’d be coaching a young team and trying to shape them into contenders.  Then LeBron came back, management traded the young players to create a Big 3 out of James, Kyrie Irving, and  Kevin Love, and merely contending was no longer enough.  The job description changed: the Cavs had to win a championship. Racking up wins in the woeful Eastern Conference and making it through to the Finals wouldn’t cut it if the now-full-strength Cavs were still—as was appearing to be the case—likely to go down in the Finals.  So, while that may have been tough for Blatt to adapt to, it remains the case that he was still collecting paychecks and that the change in expectations were not unreasonable.  That is why it is totally irrelevant, if not disingenuous, for critics of the decision to wring their hands over the fact that Blatt had the best won-loss record of any fired coach in history, or that the team, depleted by injuries, made the finals last season.  Who cares? And who says that was because of Blatt anyway? Why do you say that was because of Blatt?

Those upset that so seemingly successful a coach as Blatt should have been fired explain what otherwise seems inexplicable by presuming that LeBron James had something to do with it, even if he was not, as the Cavs maintain, explicitly consulted.  We might ask why we presume this when there is no evidence. But my gut response to the speculation is, nonetheless: ya think?  Of course he had something to do with it! I should hope so!  He might not be the best player in the league this year (though, as I’ve argued before, we should think hard about our delight in his having been surpassed by Steph Curry).  But he’s been the best player on the planet for a decade and, contrary to some wayward speculation, he’s far more crucial to the Cavs hopes of winning a title anytime soon than was David Blatt. More important than whether LeBron had a role in this or not, is the question of why those not on the team are so invested in maintaining a putative hierarchy in which players don’t express their dissatisfaction about their coaches publicly or in any way that might cause management to fire the coach.  So, why? Why are you so invested in that hierarchy?

Trailing closely in the wake of the collective garment-rending and breast-beating for David Blatt is the head-shaking and finger-wagging at LeBron James for what these observers take to be his egomaniacal savior complex.  LeBron may or may not have such a complex.  I don’t know him.  What I do know is that before he returned to Cleveland, before he left Cleveland, before he called himself King, or tattooed himself with the word “Chosen,” these same people now complaining about him had already called him “the Chosen One.”  Incidentally, many of these people who rip what they see as James’ narcissistic selfishness will also have criticized him, in effect, for being too unselfish on the court. Nor does this criticism seem to capture that the main advantage that Lue seems to have over Blatt, as far as Cavs players goes, is that he will actually criticize them, even LeBron.  Whose fault is it that David Blatt wouldn’t do that? But let’s not get bogged down in these details.  Here’s the bottom line, don’t get it twisted: we wrote the script for the new gospel and cast LeBron as the messiah.  That’s on us and it’s our problem, not his, when he doesn’t conform to the plot we’ve laid out.  

That’s the reminder and the lesson of Iverson’s tweet:  we are ever placing these human beings into our doll houses, playing out dramas with them, and them tossing them under the sofa when one “malfunctions” or a “better one” comes along…all the while acting as though our playroom theatrics were reality. We’re just playing. But they’re not: not Iverson, not Lue, not James, not even Blatt. We can play and enjoy our games.  But they’re not reality, at least not all of it, and definitely not the most important part of reality.

Now, we may not have access to the reality.  That’s not our fault.  And it makes our—my—mythmaking understandable.  I get that.  But getting that also carries with it a responsibility to acknolwedge that we are just playing, and that our play is not a source of any kind of knowledge, unless it is knowledge about the kind of games we like to play.  Morever, it requires us to refrain from passing moralizing judgments and pretending them that they are grounded in anything other than our fantasies and the deep desires shaping them.

“Beauty” (Reading In Praise of Athletic Beauty, Post 3)

What are we saying when we say that an athletic play is “beautiful”? This is the question to which Hans Gumbrecht turns in the second subsection of the “Definitions” chapter of In Praise of Athletic Beauty. You might recall that in the preceding section he defined “praise” as speech or writing, motivated by gratitude, that lays bare the complexity of forms exhibited in athletic performance and relates these to their function and effect.  How, he’s now asking, should we understand “beauty” in the context of athletics?

Gumbrecht begins by observing that, at least among intellectuals or those he calls “cultivated people,” use of the word “beauty” tends to be reserved for canonical objects of high culture such as poems and novels, paintings and sculptures, musical compositions and dramatic performances.  Aesthetic experience, he considers, is thereby reserved for an intellectual elite and divorced from everyday life experiences.

Immanuel_Kant_(painted_portrait)

Immanuel Kant, Sporty Dude

This leads him into the first of the two major parts of this chapter, in which he turns to the 18th century philosopher Immanuel Kant, who authored a highly influential treatise on aesthetics.  For those who have tangled with Kant’s famously difficult prose, this might seem like a strange resource to bring into a battle to make a common vocabulary for describing aesthetic experience available to sports fans.  But Gumbrecht contends, correctly I think, that Kant’s treatise, called Critique of Judgment, was undertaken as “an attempt to understand the implications of the everyday use of the word ‘beautiful'” (p. 39).

Though, I must say that I think Gumbrecht offers one of the most lucid summaries of Kant’s work that I have encountered, one that even my group of undergraduates with next to no experience in the humanities seemed to be able to grasp, I think there are more promising sources in the history of aesthetic philosophy for this task.  John Dewey’s Art as Experience comes to mind as a more contemporary (it was written in the 1930s), more accessible, and more persuasive attempt to redress the same cultivated aversion to the beautiful the experiences of daily life.  And, indeed, Dewey’s work has inspired some contemporary philosophers (to name just a few: Joseph Kupfer, Drew Hyland, Randolph Feezell, and indirectly Richard Shusterman) who have undertaken to understand the aesthetic dimensions of sporting experience.  That said, I do think Gumbrecht pulls off the use of Kant quite effectively.

To do so, Gumbrecht attributes to Kant four defining qualities of what we call beautiful, or, to put it slightly different, of aesthetic experience. First, it is “disinterested,” meaning not that we don’t care about what we find beautiful, but rather that in experiencing and valuing something as beautiful we are not motivated by instrumental concerns such as making money, or finding a better job, or even winning a game.  That doesn’t mean that those concerns may not play a role in creating something beautiful (Steph Curry is trying to get paid, after all, as he should be), but rather that success or failure in that regard have no impact on our judgment of the thing as beautiful (pp 40-41).

Second, aesthetic experience is felt (“an inner pleasure or displeasure”), rather than grounded in or aiming at conceptualization.  This speaks to the material basis for aesthetic experience (the very word “aesthetics” derives from the Greek word meaning simply “sensation”; so that “anesthesia” is a substance that deprives us of sensation).  Before we can think about it, we call beautiful that to which we are drawn (and “ugly” that by which we are repelled) (p. 42).

Third, aesthetic experience partakes of what Kant calls “subjective universality.”  It is an irreducibly subjective, even private or intimate, experience, but one that invites others to share in them. In Gumbrecht’s words, “our individual acts of aesthetic judgment always imply the expectation, perhaps even then invitation, for everybody to agree” (pp. 42-43).

Lastly, those objects (or activities or experiences) we tend to call “beautiful” exhibit what is usually summarized by the formula: “purposiveness without purpose” (p. 44).  It need not have a purpose, let alone the purpose to be considered beautiful, but it appears to have had a purpose or design to it.  You can think of ocean wave or an oak tree in full autumn colors.  And, indeed both Kant and Gumbrecht stress the kinship between the properties of what we call beautiful in, say, art (or sport) and what we consider beautiful in nature (p. 45).

Before moving on from Kant, Gumbrecht devotes a few, mostly dismissive words, to what Kant called “the sublime,” distinguishing it from “the beautiful.”  The sublime refers to objects or experiences that, in contrast to the formally limited nature of the beautiful, generates an experience of limitlessness, of “that which is absolutely great…in comparison with which everything else is small” and that which may threaten to overwhelm us.  Here, following Kant directly, you can think of “nature in its chaos and in its wildest and most unruly disorder and devastation.”  Gumbrecht considers that, despite the interest of many sports lovers in records which would seem to suggest an investment in quantitative greatness, the “sublime has less of an affinity with sports than does the concept of beauty.”

landing-overview

If this is sublime…

Maybe or maybe not.  But my students and I found ourselves thinking that Gumbrecht underestimates the role of the sublime in our aesthetic experience of sports.  We considered that action sports offer superb opportunities for spectators to experience the sublime.  And moreover, that certain exhibitions of unparalleled domination (Wilt Chamberlain’s 100 point game, for example) or of simply superlative performance under severe duress (Michael Jordan’s “flu game,” Isaiah Thomas scoring 25 points in a quarter in a playoff game on a badly injured ankle, Curt Schilling pitching with a torn achilles tendon) can also stimulate this experience: a deep sense of awe at the overwhelming magnitude of the play or performance we’ve just witnessed.

XXX SBS15 S BKC USA KS

isn’t this?

But regardless of that minor difference, the point of what Gumbrecht has done with Kant was to convince readers that “watching sports may be a case of what philosophers call aesthetic experience” (p. 48).  And in this I believe he succeeds.  But he worries that Kant may be too dry—ya think?!—and so he moves to what I find the most inventive part of this chapter.

122fffdc20137d7ba2a92016abef1310Recalling an autobiographical account by Olympic swimmer Pablo Morales of his experience as a spectator watching Evelyn Ashford running the anchor leg of the women’s 400 meter relay in the 1988 Olympics, Gumbrecht seizes on Morales description of what he saw in Ashford.  She was, the swimmer said, the “lost in focused intensity” and the power of that brought Morales back, despite reservations about the sacrifices involved, into competition after a four year layoff.  Gumbrecht breaks this phase down, riffing off each of its component terms, as a way, he hopes, to get a little closer “to an understanding of the specific beauty of sports among all other varieties of aesthetic experience” (49).

“Lost” Gumbrecht understands to be the equivalent of Kant’s “disinterestedness,” the athlete “alone with herself, lost to the world, disconnected from all the goals that made up her everyday life, even from the goals that—extrinsically or intrinsically—belong to the athletic event in which she participated” (p. 52).

“Intensity,” in the first place, refers what Morales believes describes Ashford’s feelings, “both her emotions and the perception of her own body” (p. 52).  Gumbrecht interprets this term to suggest an intensification or “heightening of qualities and impressions that always already exist for us” and concludes that “athletic experience—and aesthetic experience in general—is not qualitatively different from our experience in other less marked situations” only that in this case “our physical and emotional capacities are operating close to their maximum” (p. 52).

That’s nice, and I agree wholeheartedly.  But I (nerdily) kept wanting to say “John Dewey! John Dewey!” for this is the entire point of Dewey’s own aesthetic treatise, Art as Experience, which takes as its points of departure and as the core of all aesthetic experience “the live creature” in its environment, citing as examples of the aesthetic in daily life:

“the fire-engine rushing by; the machines excavating enormous holes in the earth; the human-fly climbing the steeple-side; the men perched high in air on girders. . . . the tense grace of the ball-player.”

But okay, that’s enough of my riding for Dewey. For whatever reason, Gumbrecht prefers Kant.

Lastly, the “focused” part of Morales’ formula suggests to Gumbrecht the stance that Drew Hyland has called “responsive openness” in the chapter on “Sport, Art, and the Aesthetic” in his 1991 work, Philosophy of Sport.  Here, though, Gumbrecht adds something useful (and likely to be recognizable to anyone with athletic experience) by pointing out the seemingly paradoxical combination by which an athlete both excludes potential distractions and remains open to the unexpected.  There is here a hint of what Gumbrecht will dwell on in the next section defining athletics as “presence.”  But that grounded presence in the here (space) and now (time) makes the athlete available to respond gracefully to what may arise unexpectedly from elsewhere (space) in the next unfolding moment (time). A bit later, he’ll sum this up by saying “great athletes make things happen by letting things happen to themselves” (p. 56).

I find Gumbrecht at his most compelling here in his way of describing what Andrew Cooper, following athletes themselves, describes as “playing in the zone” (linking it to spiritual practices) and the psychologist Mihaly Csikszentmihalyi has called “flow.”  But we’re talking about watching sports, not playing them, remember.  So Gumbrecht brings us back to that by simply recalling his own experiences as a spectator in which that feeling of being “lost in focused intensity” have taken over: “moments when my attention grows sharper and my emotions become overwhelming” but that are ‘always accompanied by a feeling of composure” (p. 55).  He’s capturing an experience of spectatorship that encompasses partisanship (wanting your team to succeed) but goes well beyond it to include an absorption in the unfolding action that allows Gumbrecht at least to “feel I can let go and let come (or not) the things that I desire to come. I am open to the next experience, whatever it may be (p. 56).

With this passage, Gumbrecht gets at something I’ve experienced myself and that the philosopher Steven Mumford has analyzed thoroughly in his book Watching Sport: Aesthetics, Ethics, and Emotion.  Though Mumford, to his credit, attempts to make room for a question raised by one of my students:  can we still call a play beautiful if the athlete making it is, off the field or court or ice, ethically repulsive (say, like Schilling)?  What is or should be, in other words, the relationship between ethics and aesthetics.  As I explained in my earlier posts on Gumbrecht, he’s so averse to what he dismisses as socio-cultural interpretations of sport that he really leaves no room to consider this question, which I consider a perfectly valid one.

To pivot, finally, to the next section of the book, Gumbrecht reminds us that all of this has really been about the “subjective conditions” under which “we call sports beautiful.”  But we also need to discover “whether there is anything intrinsically specific about athletic performance as an object of aesthetic experience”; anything, he wonders, “that could ‘objectively’ account for its irresistible appeal and for its so often overwhelming impact.”  But I’ll leave my account of his response to that line of questioning for my next post.

In the meantime, I’ll leave you with an image of the classroom whiteboard diagram reflecting my Writing the Sporting Body students’ discussion of this reading:

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Just How Exploited Are My Students? An Adventure

Yesterday, I tweeted this out:

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It’s gotten a certain amount of traction (Twitter tells me around 20,000 people have seen that Tweet) and so I began to be concerned that I was being irresponsibly provocative.  So let me explain how I got that number.

The Indy Star reported that the NCAA made $769.4 million off March Madness in 2013 ($681M from CBS for TV rights, $82.3 in ticket sales, and $6.1M in ancillary revenue streams).  So, partly for fun, partly out of curiosity, but also out of the conviction that the labor of performing athletes is the primary driver of these revenues, I divided the total revenues by the total player minutes to come up with a figure of $30,224.91 generated per player minute of the 2013 NCAA D1 Men’s Basketball Tournament.  Based on that figure, my five students together “generated,” with their 1017 minutes of basketball over 6 games, $30,738,733.50.

Incidentally, some other facts I discovered in the process: 674 players saw action during the tournament, sharing a grand total of 25,254 minutes of playing time.  Of course, common sense would tell you, since half the teams are eliminated after the first round, that the players on teams making deeper runs are going to have a higher share of the minutes.  What I found, though, was pretty amazing

  • Just 14 players used 10 % of the total minutes.
  • Just 36 players used 25 % of the total minutes.
  • Less than one tenth of players used more than half of the total minutes.
  • Just one third of the players used 75 % of the total minutes.
  • Half the players used 85 % of the total minutes.

People go to NCAA games and watch them on TV to see basketball players play basketball.  In a very real sense, minutes of basketball played creates revenue dollars for the NCAA, a fact not lost on the NCAA which has increased the number of minutes played by expanding the tournament.  If so, then imbalances in the distribution of overall minutes matter. They matter no matter what. But they matter doubly, I would argue, when we consider that black players are disproportionately represented among the group of players using most of the minutes and so generating most of the interest and dollars (11 out of those top 14).

But minutes and NCAA revenues are just one way to frame the story.

Even someone who values the performance of these athletes as much as I do, who knows that if it weren’t for their hard-work and talent there would be no March Madness, must also admit that arenas, coaches, training and all other manner of capital investments (laid out before and during the tournament) also contribute to the madness and so to the revenues.  It also reduces player labor to a single quantity: minutes, which isn’t the worst way to do it, especially from the NCAA standpoitn.  Though I recognize the NCAA will make a bit more or less money depending on who makes a deep run in the tournament, it essentially makes its money regardless of who wins.

But there’s a reasonable argument to made that the productivity of a player, measured in terms of contributions to wins (which generate revenues) matters more, at least at the level of individual institutions.  So while I think my $31M figure illuminates, albeit roughly, the correlation between minutes of player labor and revenues, I wouldn’t necessarily go the mat with an economist arguing that it’s the best way to measure exploitation.

So, to begin get a more precise sense of the exploitation of those five students of mine during the 2012-2013 season, I’m borrowing a page from Dave Berri, who in 2014 wrote a useful primer on the economic exploitation of college athletes for Time magazine.  Let me walk you through that.  Berri defines exploitation as “paying a worker less in wages than their economic contribution to the firm.” In terms of college athletes, exploitation occurs when the value of the scholarship, housing, and any stipend the athlete receives in exchange for competing is lower than the amount of revenue the athlete generates for the school. So, though I’m not mathematically adept, I believe we can turn this definition into relatively simple formula (as Berri goes on to do).

Exploitation (E) = Scholarship Value (SV)/Revenues (R) x 100%

Following Berri, I begin by getting the basketball revenue figures reported by Michigan to the Department of Education and posted on the latter’s “Equity in Athletics Data Analysis Cutting Tool” and discover that Michigan basketball reported $13,636,966 that year.  Let’s just call it $13.6M.

2012-2013 University of Michigan Men’s Basketball Revenues = $13.6M

According to Berri, “Currently the NCAA restricts the payment of athletes to essentially the cost of attending the institution. But in a typical labor market, the payment to workers is unrestricted.” So the question is, what would Michigan have to pay its basketball players in an unrestricted market?

To get at this, we follow Berri in adopting the revenue sharing proportions used in the comparatively unrestricted major professional sports leagues in the United States, including the NBA, where the collective bargaining deal (because, you know, NBA players, unlike “student-atho-letes“, have a union) stipulates roughly a 50/50 revenue split between owners and players.  (Berri notes that the labor market for professional athletes in the US is, in fact, still restricted and that the proportion of revenues they’d receive would likely be higher in a truly unrestricted market, but whatever.)

So, if the 15 players on Michigan’s roster were to receive 50% of the 2012-13 revenues they’d be splitting $6.8M, which works out to $400K apiece.

2012-2013 University of Michigan Average Men’s Basketball Player Revenue Share (In Unrestricted Market) = $400,000

The University of Michigan estimated the cost of attendance for out of state freshman and sophomores living on campus for 2012-2013 at $51,976.  Let’s be generous and call that $52K.

2012-2013 University of Michigan Cost of Attendance = $52,000

Now let’s plug these values back into the exploitation definition/formula Berri gave us before.  E (UM) = 52K (COA/player)/ 400K (1/2 hoops revenue/player) x 100 %.  Do the math and I come up with Michigan players getting about 13 % of what they generate. Or, to put this another way that makes more sense to me: Michigan netted about $348K in profits off each player on the team in 2012-2013.

Average University of Michigan Profit Per 2012-2013 Player = $348,000

Here I hit a wrinkle that Berri does not account for (and I welcome anybody reading this to correct my efforts to do so). The University told the Department of Education that it cost about $7.5M to operate the men’s basketball program in 2012-13. I don’t have a breakdown of those costs (though I assume scholarships are figured in there and so I’m probably double-counting that expense).  But just for fun, let’s subtract that from revenues.  Doing so ($13.6M-$7.5M) gives us $6.1M in profits. Now let’s split that 50/50 with our players, leaving them $3.05M to split 15 ways.  They’d each get a bit over $200K, which is still 75% more than the school’s own COA figure.  In other words, by the most generous calculation I can come up with, the school made nearly $150,000 off each and every member of the 2012-2013 men’s basketball team.

Adjusted Average University of Michigan Profit Per 2012-2013 Player = $148,000

This gives us the average rate of exploitation.  But, Berri, recognizing that pro franchises don’t pay all players the same amount but rather pay them to win games, applies a further calculation to factor in an approximation of each player’s contribution to the team’s wins. He takes the total revenues divided by the team’s wins to get at the value of a win, and then multiplies these by each player’s “win share” (or contribution to total wins, calculated through this complex formula, but also available here) to get at what he consider to be a more realistic and so equitable estimate of each player’s share of the revenues based on their actual productivity on the court.

[Caveat: I’m not really on board, philosophically with the individualistic, laissez-fair economic principles driving these calculations so you shouldn’t take this to mean that I argue that these numbers alone should dictate solutions to the problem of college athlete exploitation. But I think these numbers should be the starting point, after which we need to factor in other things that have value, even though that value isn’t reflected by an unrestricted market.]

Let’s go back to the five students I started with, who also happen to be the five players on the 2012-13 roster who led the team in win shares: Trey, Glenn, Nik, Tim, and Mitch.  And don’t forget, if I were using Berri’s values, which do not subtract expenses from revenues, these figures would all be about twice as high. Here’s how that turns out:

Screenshot 2016-01-19 12.49.03

That’s annually.  In other words, when productivity is taken into account using win shares, we find that the University of Michigan made $1.3M off its $52,000 investment in Trey Burke.

Now, for each of Michigan’s 31 wins during that season, the numbers look like this:

Screenshot 2016-01-19 13.44.14

Okay, now, let me also go back to my other starting point:  March Madness, where Michigan got five of their 31 wins before losing to Louisville in the title game.  How much did my students contribute to those wins? How much revenue did those five wins generate? How much did the UM pay for the players’ services in those five games? And how much profit did UM make off each of those players?  To be really precise, I’d have to calculate the WinShares for each player for the five March Madness victories and I don’t have time.  But to give an estimate, we just have to multiply the per win figures above by 5 (the number of March Madness wins).

Screenshot 2016-01-19 13.55.29

Lastly, I want to relate all this to minutes.  Basically, I want to know how much the UM made per minute that each of my students was on the floor during March Madness. So I’m going to take the total UM profit for each player for March Madness (the right hand column above) and divide it by each player’s total minutes.

Screenshot 2016-01-19 14.01.37

So that’s the bottom line for me. The University of Michigan reaped just under $1,000.00 off of every minute of Trey Burke’s performance during the 2013 NCAA Men’s Basketball Tournament.

I want to say that I recognize I am neither an economist nor a statistician, and that both are real scholarly disciplines that people take years to master, just as I spent years mastering the skills involved in cultural interpretation.  So perhaps I have something wrong here. If so I welcome corrections.  I have not intended to mislead, but simply to find my way through a thicket of ideologies and numbers to get a sense of what the school I work for is doing in its contractual relationship with the students whose educational well-being and, in some sense, overall growth, I am entrusted to protect.

Lastly, a word on the term “adventure” in my title. I take it from Ian Hacking’s remarkable book The Emergence of Probability, in which, at the point in question, he describes four different kinds of “experiment” in early modern Europe.  One of these is “the adventure,” which he describes as follows and in the spirit of which I have conducted my own little experiment:

Screenshot 2016-01-19 15.20.57

 

 

 

 

“Ball Don’t Lie!” Is Coming Soon (Here’s a discount code!)

I’m very excited!

Here’s the flyer for my book, Ball Don’t Lie! Myth, Genealogy, and Invention in the Cultures of Basketball, which comes out in March.

There’s a code at the bottom for a discount on orders prior to 3/1/16.

Also, if you or someone you know is interested in an advance review copy of the galleys, there’s contact information for that.

I’ll be very grateful if you could share this widely via e-mail and on your social networks.

If you have any questions, please write me at yagocolas@gmail.com.

Thanks,

Bad Prof

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