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)

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 past 15 years have seen an increase in interest in the martial arts by philosophers in the Anglo‐American tradition. Evidence includes two collections of essays and a book‐length study of the Asian martial arts from the perspective of western philosophy. In this article I summarize some of the most significant recent contributions to the philosophical aesthetics of the martial arts and suggest further areas for development. I begin in the first section with some general considerations regarding the martial arts (...) as arts. In the sections that follow, I consider the martial arts in conjunction with three established areas of philosophical aesthetic inquiry: dance, sport, and everyday aesthetics. In the final section I offer some additional areas for development. (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)