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)

A phenomenological model is developed as an alternative to current analyses of the imagination in sport philosophy, heirs to an Enlightenment notion that conceptualizes imaginings as abstract, eidetic, and representational. EC describes how Eidetic and Corporeal Imaginings phenomenologically structure our imaginative undertakings. EIs keep the ‘ideal’ aspect, but CIs—enacted, corporeal, non-representational—are more fundamental and foundational. Sports are particularly suited to express CIs’ muscular imaginings, which result in novel performances. An enactive framework theorizes CIs as non-representational interactions.

In two recent papers, I introduced the idea of embodied Rilkean movement knowledge and perception into the current philosophical debate on sports knowledge. In this paper, I offer a new analysis of how embodied movement knowledge and perception help us to identify and define movement consciousness. I develop a phenomenological account of embodied movement consciousness and show how it is closely linked to self-consciousness by generating anticipations and affordances that implicate pre-reflective self-awareness. I also expand Rowlands’ Rilkean memory notion to (...) include affective phenomenological properties that rely on the constitutive fault-lines between bodily material sensations and the ingrained recollections they are based on. From this perspective, embodied movement consciousness comprises empirical sensations that phenomenologically unfold as physical acts grounded in materiality. (shrink)

This paper explores what is understood by the phrase ‘spontaneous movement’. We discern five different understandings of spontaneity in the usage of the phrase: 1) spontaneous movement as automatic machine-like mechanistic, 2) spontaneous movement as free, 3) spontaneous movement as primal animateness of the body, 4) spontaneous movement as embodied responsive dealing in the world, 5) spontaneous movement as a force of nature. The first two understandings are rooted in a dualistic view, with the dichotomies of voluntary/involuntary and mind/body in (...) the Western philosophical tradition. The next two arise from a phenomenological reflection on the body, drawn from Husserl and Merleau-Ponty, while the last comes from a holistic Eastern view of the body, human beings and nature. We argue that the latter three understandings of spontaneity demonstrate three aspects of a more comprehensive picture of the spontaneity of human movement. (shrink)

In this article, I will examine a difficult subject in competitive sports: loss and defeat. Defeat is painful because we do not enter into competitive games to be defeated, although defeat is a strong possible outcome of the game, especially among more or less equal contestants. If losing a game is an existential condition that lies ahead of every athlete and team, even the best ones, why is defeat difficult to accept, especially in modern times in contrast to ancient times? (...) I will explore recent studies and ideas on sacrifice, especially those of Bataille, and discuss Heidegger’s notion of being-toward-death within the context of defeat in sports. Every defeat presupposes a form of sacrifice, understood in the loose sense, and every sacrifice presupposes a certain disposition toward death. Not only is defeat an inevitable condition in sport-making, but it is intrinsically linked to regimes of victory. Nietzsche acknowledges this intrinsic connection between defeat and victory. I will detour into this are.. (shrink)

ABSTRACTWhy is Roger Federer a GOAT of tennis? I argue that the correct response goes beyond statistics and style of play; instead, it is due to the fact that Federer embodies the qualities that typify sporting genius. More than merely being a developed or refined form of expertise, sporting genius relies on the notion of performative fit; that is, the capacity to express viable ways of succeeding within a given sport in virtue of one’s cultivated history of biological and socio-cultural (...) existence. In other words, a genius such as Federer perfectly fits the requirements of his sport and, moreover, is able to safeguard and shape this fit through his unique disposition to perform in certain ways. Performative fit provides the foundations for received traits of genius such as creativity, self-belief and risk-taking. (shrink)

This paper develops and introduces the embodied Rilkean sport-specific knowledge into the current sports knowledge philosophical debate. This idea is based on my interpretation of Mark Rowlands’ Rilkean memory theory. Broadly speaking, Rowlands proposed that an embodied Rilkean memory is memory content that is then ‘woven into the body and its neural infrastructure’ resulting in new bodily or behavioral dispositions. I propose that elite-level sports knowledge may become contentless bodily and/or behavioral dispositions and take the form of embodied Rilkean sport-specific (...) knowledge. This version of sports knowledge enriches the current philosophy of sports debate that has centered on the analytical distinction between procedural knowledge and declarative knowledge. After presenting the embodied Rilkean sport-specific knowledge concept and providing empirical evidence that supports its existence, I argue that the current distinction between ‘knowing how’ and ‘knowing th... (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)