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)

This article discusses the relationship between archery and aesthetics, developing two central claims. First, in order to deliver successful results, the archer should attend not only to efficiency, technique and equipment tuning but also to the aesthetic experience; second, archery shooting methods embody and express ‘life-issue’ statements and desires concerning our relationship with the world. Depending on the archer’s shooting style, i.e., depending on the way in which a shot is executed and performed, the archer’s ‘sportive philosophy’ is, so to (...) speak, unfolded and made apparent. Specifically, I will argue that instinctive archery strives for flexibility and versatility toward the environment and with respect to one’s own body, whereas non-instinctive approaches sharpen effectuality and results by flattening the surroundings and limiting one’s own performative freedom. Exploring this idea, I will discuss the aesthetic underpinnings of archery, also showing in which ways different shooting methods lay the ground for irreducible aesthetic experiences of self-expression. (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.

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)

This paper contains a consideration of the notion of genius and its significance to the discussion of the aesthetics of sport. We argue that genius can make a positive aes- thetic contribution in both art and sport, just as some have argued that the moral content of a work of art can affect its aesthetic value. A genius is an exceptional inno- vator of successful strategies, where such originality adds aesthetic value. We argue that an original painting can have greater (...) aesthetic value than an exact replica, merely because it is the original. By parity of reasoning, a successful innovation in sport has additional aesthetic value just because it is a new creation. The genius is one who can provide this extra aesthetic pleasure and on that basis is rightly valued. The genius need not be conscious of how they achieve such innovations and thus find their own genius to be something they cannot explain but only demonstrate. In sport, innova- tions that offer new ways of playing or solving problems can produce competitive success which demands instant recognition and rewards. (shrink)

In this paper it is argued why and how the aesthetics of sport should be included in higher education curricula in sport sciences. It is claimed that within the scope of philosophy of sport, aesthetics has its own role to play, since it provides a ‘sensible knowledge’ that should not be undervalued, and philosophers of sport must be aware of this. Providing examples from Portugal and Brazil, it is enunciated how these countries have been taking seriously and incorporated (if only (...) partially) inquiry and education concerning the aesthetics of sport. Through an interpretative analysis, it is argued about the adoption of the aesthetics of sport in academic curricula and also in the syllabus of sport philosophy and aesthetics of sport courses in the context of higher education in the Faculty of Sport at the University of Porto. (shrink)

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 private lives of elite athletes are frequently subject to the curiosity, scrutiny, and judgment of the general public. While this interest in life ‘off the field’ is not unique to athletes, this paper argues that our focus on athletes’ lives results, in part, from the fact that athletic achievement is deeply tied to the person. I will argue that athletic performance is distinct because it is both embodied and does not issue in an artifact. These features inextricably tie athletic (...) achievements to the persons whose achievements they are, making an appreciation of athletic achievement an appreciation of the athlete qua person and not merely qua athlete. Thus, in emulating athletes, we not only want to ‘play’ like them, we want to ‘be’ like them. While this helps to explain why the public is so concerned with features of elite athletes’ lives that have little bearing on athletic performance, it may also generate a responsibility on the part of athletes to live up to a basic standard of decency in all aspects of their lives and a correlative obligation on the part of fans to recognize and respect athletes as persons. (shrink)

Despite a prevalence of articles exploring links between sport and art in the 1970s and 1980s, philosophers in the new millennium pay relatively little explicit attention to issues related to aesthetics generally. After providing a synopsis of earlier debates over the questions ‘is sport art?’ and ‘are aesthetics implicit to sport?’, a pragmatically informed conception of aesthetic experience will be developed. Aesthetic experience, it will be argued, vitally informs sport ethics, game logic, and participant meaning. Finally, I will argue that (...) embodying pragmatic conceptions of art as its ideal metaphor re-opens space to best realize the deep potential of sport as a meaningful human practice. (shrink)