In this article, I first address the ethical considerations about football and show that a meritocratic-fairness view of sports fails to capture the phenomenon of football. Fairness of result is not at centre stage in football. Football is about the drama, about the tension and the emotions it provokes. This moves us to the realm of aesthetics. I reject the idea of the aesthetics of football as the disinterested aesthetic appreciation, which traditionally has been deemed central to aesthetics. Instead, I (...) argue that we should try and develop an agon aesthetics where our aesthetic appreciation is understood as involving and being embedded in our engagement in the game. The drama of football is staged but not scripted. The aesthetics of competitions like football matches—the agon aesthetics—lies in engaging in the conflict that a competition is, while being aware that the conflict is not over ordinary world or everyday life issues, but unnecessary and invented for the very purpose of having a conflict to enjoy. (shrink)

(1986). Sport, Art, and Particularity; The Best Equivocation. Journal of the Philosophy of Sport: Vol. 13, No. 1, pp. 49-63. doi: 10.1080/00948705.1986.9714441.

This paper explores the view that, on Mumford’s account of the purist, to the degree that the purist adopts an aesthetic perspective, he or she doesn’t watch the sport in question, and to the degree that he or she does watch the sport, there is a loss of aesthetic appreciation. The idea that spectators oscillate between partisanship and purism means that the purist is unable to avoid either the Scylla of not actually watching the sport, or the Charybdis of loss (...) of aesthetic appreciation at any given point. Ultimately there seems to be both a sport-shaped hole and an aesthetic-shaped hole in Mumford’s account of the purist. It is argued that oscillation is incapable of dealing with the problem precisely because it is disjunctive in nature and entails the spectator either watching sport from an aesthetic perspective or from a partisan perspective at any given time. An alternative conception of the aesthetic is considered that offers one way of dissolving the purist’s dilemma. (shrink)

It is popularly believed within sport's practice communities that a contest fails if the competitor who performs most skilfully in it does not win. The belief is rarely acknowledged explicitly, and therefore deserves to be considered ideological in a sense. In this paper I challenge that belief. For conceptual reasons, I confine the discussion to the purposive sports, e.g. football and tennis. The concept of skill is approached by articulation of a set of platitudes about skill in the purposive sports. (...) The first is the conceptual wedge between skill and success. The second is the distinction between skill and other performance-relevant qualities such as courage, strength and luck. The third is the fact that skill deficits can be compensated by sufficient amounts of the other performance relevant qualities. The fourth is the dispositional and dynamic character of skill. The relation between skill and final objectives in the purposive sports means that (i) qualities such as nerve and courage can trump the more skilful performance; and (ii) poor execution of a narrow range of skills can result in the competitive failure of the more skilful performance. There is no viable ideal of sport that would ground regret about the realisation of the immediately preceding possibilities. The inclination towards such regret might be partly motivated by the wish to take a gratifying view of ourselves. An end to this response, and a more inclusive, less hierarchical conception of sport skills, is worth recommending. (shrink)

The purpose of this paper is to suggest that sport can be understood as a form of engagement with the fundamental contingency and vulnerability of the human condition, and as such that it expresses a yearning for meaning in a modern society that offers only the illusion of meaning. Sport, at its most profound, is argued to be a negative liturgy, in the sense that it highlights an absence of meaning, rather than offering a positive alternative. The paper draws on (...) an analysis of contemporary society, and resultant defence of the potential role that liturgy might play in restoring meaning and a sense of transcendence to society, that is offered by the Radical Orthodoxy theologian Catherine Pickstock. (shrink)

This paper builds on a previous discussion of Stephen Mumford’s rejection of what he takes to be David Best’s argument for a distinction between purposive and aesthetic sports. That discussion concluded that Mumford’s argument misses its target, but closed by introducing a possible alternative argument, not made by Mumford, that might be thought to have the potential to secure Mumford’s conclusion. This paper considers that alternative argument, namely, the thought that the ascription of psychological predicates conceived of in terms of (...) defeasible criteria that constitute logically good evidence could preserve Best’s claim to be making a logical point while allowing a place for intention in relation to aims and purposes in sport. It is argued that the relationship between rules and intention is such that this alternative argument cannot secure Mumford’s conclusion. (shrink)

This paper examines one component of Stephen Mumford’s case for the claim that we should regard sport, art and the aesthetic as more closely connected than has tended to be the case, under the influence of the work of David Best, in recent years. Mumford’s rejection of what I call ‘the drama argument’ is examined in detail and it is argued that all but one element of his case fails to do the job he envisages.

In his recent work, ‘Sport, Aesthetic Experience, and Art as the Ideal Embodied Metaphor’, Tim L. Elcombe explores links between sport and art from a pragmatically informed conception of aesthetic experience. However, Elcombe's work does not highlight the role of the imagination in the interpretation of the aesthetic something Michael Polanyi claims to be the ‘cornerstone of aesthetic theory’. With the backdrop of an increased interest in the aesthetics, phenomenology, and epistemology of sport, this discussion essay seeks to defend the (...) usefulness and value of definitional demarcation debates between sport and art, to use Polanyi’s distinctions among technical, scientific and artistic problems to support the claim that sport is not art, and to offer an account of how sport contributes in its own way to human flourishing and why it is no less valuable experientially than art. (shrink)

The domain of sport provides opportunity for development and growth, which is often incremental but can be marked by significant breakthroughs. Using Aristotle’s virtue ethic as a model, this paper explores the challenge of overcoming new obstacles, sometimes reversing bad habits, in the athletic domain. Breakthrough victories in sport are achievements that both reward persistent effort and open new horizons in the pursuit of excellence. They are significant because they seem to hold out a promise for future performance, now that (...) some barrier has been passed. Breakthrough victories are often among the most important and rewarding moments in an athletic career. (shrink)

This paper points out the potential of using sport for the analysis of society. Cultivated human movement is a specific social and cultural subsystem, yet it becomes a part of wider social discourses by extending some of its characteristics into various other spheres. This process, theorised as sportification, provides as useful concept to examine the permeation of certain phenomena from the area of sport into the social reality outside of sport. In this paper, we investigate the phenomena of sportification which (...) we parallel with visual culture and spectatorship practices in the Renaissance era. The emphasis in our investigation is on theatricality and performativity; particularly, the superficial spectator engagement with modern sport and sporting spectacles. Unlike the significance afforded to visualisation and deeper symbolic interpretation in Renaissance art, contemporary cultural shifts have changed and challenged the ways in which the active a.. (shrink)