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Or in which violence is centrally involved but subject to more civilizing controls. (Dunning 1999:53) It is these changing and developing infrastructural dynamics of sport that animation has been particularly responsive to, playing out tensions in the ‘civilising’ of sport, by exaggerating the tensions between serious and nonserious play; the violence embedded and embodied in many sports; the nature of physical activity and the purpose of its expression. One immediate observation, then, is that animation is as preoccupied with the transformative and adaptive processes that create and define sport as it is by the activity of the sport itself.

Context and place are very important in the materiality and psychology of sport. As Syer and Connolly have pointed out: The concept of ‘place’ varies according to the sport. Indoor competitions are affected by floor surface, lighting, surrounding space, height of the ceiling, air currents and temperature. Outdoor conditions vary according to weather, ground conditions and setting. There are also other variables that are outside the structure of the competition which affect your concentration and should be considered.

Many of Marey’s images show up the movement through the strategic placement of small reflective rivets and tapes on key areas of the body, and this ‘data’ capture is reminiscent of the way in which motion capture uses similarly placed sensors on moving bodies in the contemporary era. Marey was also to prove that a horse had all its legs in the air during a certain instant of its gallop cycle before this was more clearly evidenced in Muybridge’s photos (see Marey 1879/2010). As O’Mahony has pointed out, though, Marey’s achievements in early photographic practice have overshadowed the research he undertook with colleagues from the department of physiology in the Collège de France during the 1900 Paris Olympic games: At this time, he combined forces with physical culturist, Georges Demeny to produce a series of photographic studies of gymnasts in motion.

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