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)

Best (1978, 117) argues that sport, unlike art, does not allow for ‘the possibility of the expression of a conception of life issues, such as contemporary moral, social and political problems’. For...

This paper presents a phenomenology of affect and discusses its relevance for organizational life-worlds. With Merleau-Ponty, affects are interpreted as bodily and embodied inter-relational phenomena, which have specific pathic, ecstatic and emotional qualities. Relationally, they will be situated as “inter-affection” that are part of the inter-corporeality of the “Flesh” of wild be(com)ing. Affect and inter-affectivity are then related to organizational life-worlds, through a critical exploration of different phenomena and effects generated by positive, negative and ambiguous dimensions. Finally, the potentials of (...) affects and affection as part of the nexus of an embodied responsive responsibility and sustainability are discussed and critical perspectives on affective becoming outlined. (shrink)

In the previous chapter ‘The Beauty of Sport', I made a distinction between classical and modernist aesthetics. The classical is exemplified in eighteenthcentury art criticism and its use of the la...

In 1974, David Best rightly contrasted purposive sports (exemplified by most sports) with aesthetic sports; and recently I was careful to exempt the issues for aesthetic sports from my critique of the prospects for an all-embracing philosophy of officiating. While discretion plays a part in umpiring or refereeing in both kinds of sports, it is especially important for aesthetic sports (such as gymnastic vaulting, ice-skating or diving), where the manner of execution determines victory. Here, it is urged that the issue (...) of objectivity for judgements in aesthetic sports is not the most crucial aspect: we have reason to expect correct accounts from knowledgeable, sensitive and experienced judges or umpires. Impartiality remains a concern, of course, not least between the training for judges or umpires might tend to favour particular styles of performing key movements. So that many past rule-changes are explained as attempts to improve fairness, with competitors getting their ‘just deserts’. In doing so, they have implicitly contributed to what is then valued in the manner of execution in aesthetic sports. The term ‘aesthetic’ is generally applied in its positive valence, although one must recognize the negative valence also. But, for aesthetic sports, the rules provide guidance as to what will or will not be regarded positively in the context of competition. And rule-changes here will sometimes be best explained as attempting to modify what is rewarded in such sports, the manner of performance. Such changes might be expected to bear on the character of the sport (here exemplified through men’s ice-skating). (shrink)

There is an absence in the literature on sports of a conceptualization of what in French are labeled sports de glisse: sports that imply gliding on water, through air, and on snow and ice, such as surfing, paragliding, skiing, and skating. Inspired by Ingold’s (1993) concept of the taskscape, we introduce the idea of the glidescape: a perceptual field in which gliding sports practitioners inhabit, create, and transform their environment while at the same time being recreated and transformed themselves. Using (...) an applied phenomenological approach, we describe the main experiential qualities and structure of the glidescape. In the quest for extended phases of effortless movement, gliders engage in a clearly accentuated rhythm with sharp contrasts between forceful effort and smooth effortlessness based on a fine-tuned proprioceptive sense for material and ecological resonance, which opens fleeting and emplaced moments of freedom and authenticity. (shrink)

ABSTRACTThe spiralling discourse of sport spectatorship is a compelling development within recent sport philosophy. It is argued that the conceptual foundations of the purist and partisan carry pro...

This reflexive account is of a phenomenological study that took place over two years. It explores how a group of primary-aged children perceive, express and reflect on their embodiment through movement. Children aged between four and eleven took part in sessions of yoga, somatic movement and developmental play during the school day. The data include field notes, observations, a reflexive journal, photographs of and by the children, their drawings, mark-makings, writing and posters. Children were also interviewed at the end of (...) the study, when they had an opportunity to reflect on all their work and experiences. All the children were capable of expressing and reflecting on their experiences, and the oldest children in particular appeared to enjoy and seemed to benefit from the reflective process. By linking together a sense of self-awareness and reflection, the children appeared able to gain insight into their embodied experience and reflect on emotions, feelings and events. Embodiment is a process as much of a state of being, and as such has implications for perceptions of mind and body, learning, and reflective practice. This approach to embodied reflective practice thus has potential for educators, and teacher trainers as well as direct work with children. (shrink)

This book symposium on Jason Holt’s Kinetic Beauty: The Philosophical Aesthetics of Sport includes commentaries from Stephen Mumford, John E. MacKinnon and Andrew Edgar with replies from Holt.

This paper explores the relationship between the development of art and sport in the Arabian Peninsula. In particular, it will be argued that both sport and art can be understood in terms of a trajectory from the ‘modern’ to the ‘contemporary’. Modernity and modernism are introduced through an interpretation of Paul Delaunay’s series of paintings ‘The Cardiff Team’ (1912–22) which may be read as an expression of modernity. The content of the paintings documents core elements of European modernist culture, including (...) technology and science, leisure, consumerism and advertising, and crucially (international) sport. Delaunay’s work provides a background from which to reflect upon the development of sport into something like its contemporary form, in early 20th Europe. By drawing on Terry Smith’s analysis of the difference between modern and contemporary art, and applying this to sport, in order to suggest that there is a distinctive contemporary form of sport, the core tensions within both artistic and sporting practices are argued to lie in the movement from a conception of sport as an expression of modernity, where this is conceived as a universal movement, exemplified by Western humanism, towards a conception of sport as something particularised, expressive of local cultures. The promotion of art institutions and sports events within the Arabian Peninsula highlights the resultant tensions between the neo-colonial influence of Western culture and the reinterpretation of that culture, locally, in order to reflect upon and articulate communal identity within the contexts of globalism and transnationalism. (shrink)

Scholars across disciplines recognize sport as an institution perpetuating sexism and bias against women in light of its masculine ideals. However, little philosophical research identifies how a masculine environment impacts women’s possibilities in sport. This paper shows that socially structured masculine ideals of athletic excellence impact recognition of women’s athletic achievements while contributing to contexts endangering respect and self-respect. Exploring athletic disrespect reveals connections to more broadly harmful sport practices that include physical and sexual violence. Thus, the practical concern is (...) that sport’s masculine ideals might undermine women’s pursuit of athletic excellence in more harmful ways than previously recognized. (shrink)

I argue that ethical features of sport strongly interact with aesthetic features of sport, such that all pro tanto ethical merits/defects count as aesthetic merits/defects. This is a much-debated topic in the philosophy of art and aesthetics literature, in which recent critics have taken to task this interactionist take on how ethical evaluative properties interact with aesthetic ones. The critics’ main argument against this view is that far too many works of art than theorists of this strong interactionist kind care (...) to admit either lack the evaluative ethical properties they claim for them, or their ethical properties do not appreciably affect their aesthetic properties. Sport, I argue, is a notable exception. That’s because in sport ethical flaws in athletic performances double as aesthetic flaws with very few exceptions, or so I will argue. Unlike artworks, therefore, the interactionist thesis holds mostly true across the entire athletic spectrum, which is why, in my view, it warrants far more serious attention and appreciation than it is commonly given in both the philosophy of art and aesthetics and philosophy of sport literature. (shrink)

This paper considers David Best’s claim that descriptions of events in sport as being ‘dramatic’ or ‘tragic’ employ those terms in a figurative sense, along with Stephen Mumford’s rejection of that...

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)

Stephen Mumford argues that positive aesthetic value is a by-product of both sport and art, and that the principal aim of the artist and the player or athlete could not be to produce positive aesthetic value. Three features of Mumford’s by-product argument are considered. It is argued that problems arise as a result of failure to appreciate Best’s distinction between the evaluative and conceptual uses of ‘aesthetic’, the nature of the descriptions Mumford gives of the intention of the artist in (...) making art and the necessary implicit premises in the argument. There is, therefore, reason to think that Mumford has not established that sport and art are in the same position in the ways in which their aims relate to aesthetic values, nor that the by-product argument can form part of a counter to Best’s position. (shrink)

In endorsing a conventionalism about the rules of sport, Morgan fails (according to his critics) to ground the normativity of such rules, especially once the historical specificity of their invention and implementation is granted. But how can normativity be grounded in the contingencies of the sporting practices of particular times and places? In particular, do Morgan’s concerns with dependence on ‘conventions’ flow only from the choice of options apparently on offer: roughly the choice between a realism (to reflect ‘facts of (...) the matter’) and a conventionalism in the ‘norm-based’ version that I urge is misguided. Exploring some of the variety of occasions for the operation of normativity in sporting contexts, and acknowledging their occasion-sensitivity, shows this to be a false dichotomy. In this light, the paper elaborates a Morgan-style conclusion by drawing a parallel with language-use to conclude that rule-following in sport has all the grounding it could get—and that, as with normativity for language-use, this is all the grounding one needs. (shrink)

Many video games require complex, rapid sequences of skilled bodily movements in order to complete game-world tasks. It is not unreasonable to think that this might interfere with our ability to aesthetically appreciate such video games. I present two versions of this argument from extreme difficulty: a strong version and a weak version. While extant treatments of the aesthetics of video games can be used to rebut the strong version, the weak version remains recalcitrant. I develop a reply to the (...) weak version, use it to clarify key features of reasons used by video-game critics to argue in favor of their critical judgments, and to illuminate the development of video games over time. (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.