Beginning from an earlier claim of mine that there was really no such area of study as the philosophy of sport, Part One of the paper reconsiders the place previously given to David Best’s distinction between purposive sports and aesthetic sports. In light of a famous cricketing event in the 1977 contest between England and Australia (‘The Ashes’), in which Derek Randall turned a cartwheel after taking the winning catch, the paper clarifies that not all aesthetically-pleasing events taking place in (...) sporting competitions can be understood as the aesthetic in sport. Then, in Part Two, the force of the claim that philosophy is one subject is explored. The conclusion is that a focus just on the philosophy of sport is necessarily inappropriate, since it will present the student with only cases from sport to then apply to sport. Rather, one’s understanding must be informed by (much of) the breadth of philosophy. Charles Travis’s view of occasion-sensitivity provides a clear example of appropriately contextual appeal. Part Three of the paper returns to the need for an institutional account of sport, one recognizing that there is no one occasion on which a particular sport is played; and hence no single set of conditions which can uniquely identify that sport. Thus, soccer played with one’s children typically differs from elite soccer: but both are (genuinely) soccer. When one turns to the appreciation of sport (in the light of Stephen Mumford’s excellent Watching Sport: Aesthetics, Ethics and Emotion [2012a]), one recognizes that, in order to genuinely appreciate sport, one cannot detach oneself from the outcome as completely as Mumford’s extreme purist seems to. But reflection on that case may also return us to contextualism by moving us away from attachments to the complete or the exceptionless in our accounts of spectating as of sport: maybe there is no one thing that occurs in all the relevant cases. (shrink)

This paper provides evidence for a radically enactive, embodied account of remembering. By looking closely at highly context-dependent instances of memorizing and recalling dance material, I aim at shedding light on the workings of memory. Challenging the view that cognition fundamentally entails contentful mental representation, the examples I discuss attest the existence of non-representational instances of memory, accommodating episodic memory. That being so, this paper also makes room for content-involving forms of remembering. As a result, it supports the duplex vision (...) of mentality advanced by the REC framework. Building on research on the enactive imagination, I suggest that contentless forms of remembering act below content-involving forms. In addition, contentless and contentful forms of remembering a movement are revealed as the product of culturally scaffolded engagements with others and the environment, in which direct perception and mirroring play a fundamental role. It is argued that many of the practices of remembering a movement are best explained as enactments or re-enactments of such direct ecological perceptions. In the process, the dance studio proves to be a paradigm of the extensive mind. This paper is also intended as an invitation to the REC framework to extend the family and explicitly embrace research on sociocultural practices as an equal partner, including dance studies. Given the fundamental role that sociocultural practices play in REC’s understanding of cognition, it is only natural that further radicalization goes along those lines. (shrink)

Modifying a contrast introduced by Dixon, Stephen Mumford distinguishes between ‘partisan’ and ‘purist’ ways of watching sport. Recognising that the extreme partisan and extreme purist positions do not explain the nature of sports spectatorship, Mumford follows Dixon in adopting the idea of moderate partisanship. He outlines three theories of spectatorship designed to address the issue of the relationship between the partisan and the purist ways of viewing sport. The true perception theory regards the moderate fan as able to see the (...) event as it really is, rather than concentrating on an aspect. The mixture theory is the view that ‘the moderate partisan has both partisan and purist perceptions of sport in some mixed way’. The oscillation theory, which Mumford favours, holds that the moderate sports fan switches or oscillates between competitive and aesthetic ways of watching sport... (shrink)

According to Hume, experience in observing art is one of the prerequisites for being an ideal art critic. But although Hume extols the value of observing art for the art critic, he says little about the value, for the art critic, of executing art. That is, he does not discuss whether ideal aesthetic judges should have practiced creating the form of art they are judging. In this paper, I address this issue. Contrary to some contemporary philosophers who claim that experience (...) in creating art is irrelevant to one’s ability to judge that art form, as well as to some dance critics who see dance training as possibly even detrimental to one’s aesthetic judgment, I suggest that having practiced dancing makes one a better observer of certain aesthetic qualities of dance. Dance training, I argue, can facilitate a kinesthetic experience upon watching dance without which some aesthetic aspects of a dance performance—such as grace, power, and precision, as perceived kinesthetically—may go unnoticed. (shrink)