How should sport deal with prematurely ended seasons? This question is especially relevant to the current COVID-19 inter- ruption that threatens to leave many leagues without cham- pions. We argue that although there can be no winners, in certain situations there should be champions. Relevant to the current situation, we argue that Liverpool FC—currently with a 22+ point lead—should be crowned champions of the English Premier League. However, things are not as simple as simply handing the championship to whoever was (...) in the lead when a season is prematurely ended. Through analogy with a fictional decathlon competition—and with the understanding that sporting seasons are themselves a type of game—we identify three reasons why leading at the moment of cessation is insufficient to be crowned a victor (of an individual event) or a champion (of a season-long competition): doing so fails to respect some valuable skills, fails to allow for luck to play out in an interesting way that affects competitions, and fails to respect competitive strategies. This discussion can then inform determining what, if any, end-of-season accolades are relevant, such as championships, relegation, or promotion. No team can win in a league that has failed to be completed, but there can still be a champion. (shrink)

I argue that sports clubs should be punished for bad behaviour by their fans in a way that affects the club’s sporting success: for example, we are justified in imposing points deductions and competition disqualifications on the basis of racist chanting. This is despite a worry that punishing clubs in such a way is unfair because it targets the sports team rather than the fans who misbehaved. I argue that this belies a misunderstanding of the nature of sports clubs and (...) of the nature of sporting success. Further, I argue that fans should want to be held responsible in such a way because it vindicates the significant role that they play in the life of their club. (shrink)

Games may seem like a waste of time, where we struggle under artificial rules for arbitrary goals. The author suggests that the rules and goals of games are not arbitrary at all. They are a way of specifying particular modes of agency. This is what make games a distinctive art form. Game designers designate goals and abilities for the player; they shape the agential skeleton which the player will inhabit during the game. Game designers work in the medium of agency. (...) Game-playing, then, illuminates a distinctive human capacity. We can take on ends temporarily for the sake of the experience of pursuing them. Game play shows that our agency is significantly more modular and more fluid than we might have thought. It also demonstrates our capacity to take on an inverted motivational structure. Sometimes we can take on an end for the sake of the activity of pursuing that end. (shrink)

What is a game? What are we doing when we play a game? What is the value of playing games? Several different philosophical subdisciplines have attempted to answer these questions using very distinctive frameworks. Some have approached games as something like a text, deploying theoretical frameworks from the study of narrative, fiction, and rhetoric to interrogate games for their representational content. Others have approached games as artworks and asked questions about the authorship of games, about the ontology of the work (...) and its performance. Yet others, from the philosophy of sport, have focused on normative issues of fairness, rule application, and competition. The primary purpose of this article is to provide an overview of several different philosophical approaches to games and, hopefully, demonstrate the relevance and value of the different approaches to each other. Early academic attempts to cope with games tried to treat games as a subtype of narrative and to interpret games exactly as one might interpret a static, linear narrative. A faction of game studies, self-described as “ludologists,” argued that games were a substantially novel form and could not be treated with traditional tools for narrative analysis. In traditional narrative, an audience is told and interprets the story, where in a game, the player enacts and creates the story. Since that early debate, theorists have attempted to offer more nuanced accounts of how games might achieve similar ends to more traditional texts. For example, games might be seen as a novel type of fiction, which uses interactive techniques to achieve immersion in a fictional world. Alternately, games might be seen as a new way to represent causal systems, and so a new way to criticize social and political entities. Work from contemporary analytic philosophy of art has, on the other hand, asked questions whether games could be artworks and, if so, what kind. Much of this debate has concerned the precise nature of the artwork, and the relationship between the artist and the audience. Some have claimed that the audience is a cocreator of the artwork, and so games are a uniquely unfinished and cooperative art form. Others have claimed that, instead, the audience does not help create the artwork; rather, interacting with the artwork is how an audience member appreciates the artist's finished production. Other streams of work have focused less on the game as a text or work, and more on game play as a kind of activity. One common view is that game play occurs in a “magic circle.” Inside the magic circle, players take on new roles, follow different rules, and actions have different meanings. Actions inside the magic circle do not have their usual consequences for the rest of life. Enemies of the magic circle view have claimed that the view ignores the deep integration of game life from ordinary life and point to gambling, gold farming, and the status effects of sports. Philosophers of sport, on the other hand, have approached games with an entirely different framework. This has lead into investigations about the normative nature of games—what guides the applications of rules and how those rules might be applied, interpreted, or even changed. Furthermore, they have investigated games as social practices and as forms of life. (shrink)

Games have a complex, and seemingly paradoxical structure: they are both competitive and cooperative, and the competitive element is required for the cooperative element to work out. They are mechanisms for transforming competition into cooperation. Several contemporary philosophers of sport have located the primary mechanism of conversion in the mental attitudes of the players. I argue that these views cannot capture the phenomenological complexity of game-play, nor the difficulty and moral complexity of achieving cooperation through game-play. In this paper, I (...) present a different account of the relationship between competition and cooperation. My view is a distributed view of the conversion: success depends on a large number of features. First, the players must achieve the right motivational state: playing for the sake of the struggle, rather than to win. Second, successful transformation depends on a large number of extra-mental features, including good game design, and social and institutional features. (shrink)

This paper considers the concept of a good game in terms of its relation to the fair testing of relevant skills and their aesthetic values. As such, it will consider what makes football ‘the beautiful game’ and what part penalty shoot-outs play, or should play, within it. It begins by outlining and refuting Kretchmar’s proposal that games which end following the elapsing of a set amount of time, such as football, are structurally, morally and aesthetically inferior to games which end (...) following the attainment of a designated goal. Instead, it is suggested that the structural deficits of t-games are compensated by the fact that they allow for a fuller test of more valuable open skills than the closed skills that tend to define e-games, such as golf. Moreover, it is the rationing of time in t-games that provides an added aesthetic value that does not occur in e-games. Finally, it is concluded that although it may appear that the existence of the penalty shoot-out supports Kretchmar’s argu.. (shrink)

The voluntary suspension of play is a putative fair play norm that has emerged in the last 20 years in association football, though there is no reason in principle why it is limited to that sport. It occurs in football when an injury appears to have been sustained and another player deliberately puts the ball out of play so that the injury can receive rapid attention. It is widely understood as a positive development within the sport and philosophers have added (...) their support on the basis that VSP is a way of players exercising autonomous moral responsibility. It is represented as a case of athletes putting care for their competitors before care for the contest. In this paper, however, it is argued that moral praise for VSP is misplaced. Attempts to induce a VSP almost always occur when a team is seeking to hold a position within a game. As a delaying tactic, it encourages the faking of injuries, which is all the more reprehensible because it exploits someone else's concern for that apparent injury. Conditions for the possibility of VSP within a sport are analysed as well as conditions for the abuse of VSP. VSP occurs because of a loophole, and ways in which this can be closed are presented. In an appendix, some initial empirical evidence is presented that backs the evaluative claims of the paper. (shrink)

In this essay, I revisit my claims about game structures and amend them by adding achievement-regulated games to previously analyzed time- and event-structured activities. In describing achievement formats, I discuss their heavy reliance on the world of work, their strong dependency on Suits’ lusory attitude, and their relative independence from constitutive rules. I argue that achievement-structured games carry disadvantages not shared by time- and event-regulated activities. I speculate that achievement gaming came first in our evolutionary history, but show that it (...) still holds value for modern players and spectators. (shrink)

ABSTRACTHidden among the many fascinating things that Bernard Suits says in his classic The Grasshopper is a passing observation he makes about one of the works of Søren Kierkegaard, the Seducer’s...

I call the trait that makes for a good or great competitor, the trait that makes its possessor compete well, ‘competitive excellence’. We seem to be of two minds about this trait: on the one hand, we often admire great competitors, but on the other hand, we sometimes identify their competitive drive as ‘pathological’, recognizing something unhealthy in it. Why are we so ambivalent? The answer I will defend is that there are at least three distinct traits, each of which (...) satisfies the definition of competitive excellence and so has something of a claim to be the trait we admire in great competitors. One of these traits is a virtue, one a vice, and one can be either a virtue or a vice depending on what other traits accompany it. This accounts for our deep ambivalence about great competitors and implies that we should only seek to be great competitors in a qualified sense. (shrink)

A recent article in this journal attempts to link categories of sport competition to appropriate psychologies of participants in the different sorts of competition. It criticises accounts of competition which understand it in relation to a very restricted range of psychologies because the purposes and psychologies with which people enter and engage in competition vary enormously. So, taking as a starting point a consensus view among sport philosophers of the key conditions governing competition, work is undertaken to identify fundamental distinctions (...) drawing from the conditions, which are said to result in a fourfold typology of competitions. The final step is to suggest psychologies most suited to the components of the typology. My article examines this project and produces reasons to doubt its success. (shrink)

There are robust consequences of the fact that football is football and not something else. The aesthetic personality of football does not submit to a template inappropriately borrowed from elsewhere. One consequence is that beauty should not be awarded privileged status. Any just aesthetics of the game must be properly hospitable to the game’s less hygienic and agonistic features, such as stolid defence, scuffling and scavenging, heroic goalkeeping, visible toil and strain, the intrinsic possibility of failure, the visibly strenuous working (...) with materials, one’s exposed vulnerability to conditions, luck, loss of form and the injured or ageing body, and the visible realisation of a plurality of life values in a self-enclosed domain. This gives football a deep affinity with a Modernist aesthetics. However, ‘traditional’ aesthetics might also have a substantive and precious input into the aesthetics of football. Indeed, it might be that beauty is a legitimate aesthetic category and.. (shrink)

Que ce soit sur le plan réglementaire ou à travers un calendrier événementiel qui leur est spécifique, les sports ont partie liée avec différentes formes de temporalités. De ce point de vue, il est possible de classer les compétitions sportives selon trois catégories de rapport au temps : les sports où le temps est systématiquement mesuré mais ne fixe pas les conditions de lʼaccomplissement de lʼépreuve, les...

Almost four decades ago, Kathleen Pearson examined deceptive practices in sport using a distinction between strategic and definitional deception. However, the complexity and dynamic nature of sport is not limited to this dual-categorization of deceptive acts and there are other features of deception in sport unaccounted for in Pearson's constructs. By employing Torres’s elucidation of the structure of skills and Suits's concept of the lusory-attitude, a more thorough taxonomy of in-contest sport deception will be presented. Despite the ubiquitous presence of (...) deception in sport, few scholars have examined this concept in the sport philosophy literature since Pearson’s contribution. This paper hopes to advance a deeper understanding of deceptive practices in competitive sport and also comment on the ethical permissibility of certain sport skills from a moral perspective. (shrink)

In a previous article (Kretchmar 2005), I identified problems in a certain species of games and traced these harms to something I called a 'game flaw'. Unfortunately, 'the beautiful game' is a member of that species. I say it is unfortunate because Paul Davis (2006), when taking me to task for providing an argument that, in his terms, was 'not especially compelling', focused on the game of soccer (hereafter, football). The issue over which we contended is one of 'time management'- (...) that is, how game initiation, duration and closure are structured. I suggest that two basic methods for managing such requirements are available. Games take place during a stipulated amount of time or for a specified number of events. In my original article, I identified four fundamental problems that may accompany time-regulated games. In this essay, I attempt to fortify those claims against Davis's criticisms. (shrink)

The results of sport would not interest us if either they were necessitated or they were a matter of pure chance. And if either case were true, the playing of sport would seem to make no sense either. This poses a dilemma. But there is something between these two options, namely the dispositional modality. Sporting prowess can be understood as a disposition towards victory and sporting liabilities a disposition towards defeat. The sporting contest then pits these net prowesses against each (...) other. The stronger will tend to beat the weaker but no more than tend. This makes sense of the sporting contest in which the weaker knows they still can win. The stronger team can lose though they do not tend to do so. The dilemma is thus escaped. (shrink)