In the mid twentieth century the philosopher Ludwig Wittgenstein famously asserted that games are indefinable; there are no common threads that link them all. "Nonsense," says the sensible Bernard Suits: "playing a game is a voluntary attempt to overcome unnecessary obstacles." The short book Suits wrote demonstrating precisely that is as playful as it is insightful, as stimulating as it is delightful. Suits not only argues that games can be meaningfully defined; he also suggests that playing games is a central (...) part of the ideal of human existence, so games belong at the heart of any vision of Utopia. Originally published in 1978, The Grasshopper is now re-issued with a new introduction by Thomas Hurka and with additional material (much of it previously unpublished) by the author, in which he expands on the ideas put forward in The Grasshopper and answers some questions that have been raised by critics. (shrink)

Recently David Best has advanced the claim that sport is not an art form, and that although sport may be aesthetic, it is not artistic. Such a claim is false and runs counter to ordinary usage and sport practice. On behalf of sport practice, let me cite as an example the world-class Canadian skater, Toller Cranston, who thinks there are such things as ‘artistic sports, those being gymnastics, diving, figure skating’. Best claims that athletes like Cranston are conceptually confused and (...) that they endow sport with greater respectability than should be allowed. Ascribing the predicate ‘artistic’ to sport performances reflects ‘barbarous usage’. Why does Best exclude the artistic from the realm of sport? Upon examination of his argument, one finds that this exclusion derives mainly from his concepts of art and sport. He thinks that art has a subject-matter, a content, and that sport does not. Sport is contentless, so ‘sport’ and ‘art’ are two logically distinct regions. But is this so? Are we to accept Best's argument or are we to listen to accomplished, reflective athletes in the area of artistic sports? It seems the most reasonable analytic procedure would be to listen to Cranston's case and decide whether such a piece of intentionalist criticism5 should override Best's premises. (shrink)

Neglect of everyday aesthetics -- Significance of everyday aesthetics -- Aesthetics of distinctive characteristics and ambience -- Everyday aesthetic qualities and transience -- Moral-aesthetic judgments of artifacts.

Yuriko Saito discusses aspects of our everyday experience that have been neglected by modern Western aesthetic theories.

I interpret Kant's distinction between free and dependent beauty in a way that makes it possible for an object to be judged dependently beautiful without being judged freely beautiful. This is an alternative to the analyses provided by Malcolm Budd and Christopher Janaway, which both face a dilemma because they entail that an object must be judged freely beautiful in order to be judged dependently beautiful. The dilemma is that either the determinant of a judgement of dependent beauty is based (...) upon non-aesthetic criteria (if the object is not freely beautiful), or else the judgement is superfluous for an account of aesthetic value. My analysis of the distinction allows both kinds of beauty to play a meaningful role in a theory of aesthetic value. (shrink)

Argument of this text is that: to develop aesthetics of sport, we should not begin with aesthetics as philosophy of art but with aesthetics of everyday life; to start with aesthetics of sport, we should not begin with beautiful of ‘pure aesthetics’ but with the dramatic; to analyze the dramatic in sport, we should not open the analysis with analogy between theater and sport, but with sport as a sort of performance; to get at the meaning of sport as a (...) drama, we have to discuss different meanings ‘drama’ has in theory and everyday communication; to map the dramatic in sport as performance, we have to discuss some features of sport which determine its dramatics first, and its potential as spectacle later. To proceed with the argument, we have to take into account contemporary state of aesthetics, recent development of aesthetics of everyday life, and theory of performance, together with Bernard Suits’ definition of game, Gadamer’s idea of play, and Lévy-Strauss’ account on conjunctive and disjunctive ritual. (shrink)

In this essay I explore the relationship of sport to art. I do not intend to argue that sport is one of the arts. I will rather argue that sport and art have a commonality, in that both are alienated philosophy. This is to propose – in an argument that has its roots in Hegel's aesthetics – that sport and art may both be interpreted as a way of reflecting upon metaphysical and normative issues, albeit in media that are alien (...) to philosophy's conceptual language. The medium of art is the manipulation of sensuous materials, such as stone, paint, or sound. The medium of sport is the pursuit of a physical challenge, at which the athlete may fail. I will develop this argument by borrowing from the philosophy of art of Arthur C. Danto. In particular, I will suggest that a parallel to his concept of ‘artworld’ can be seen in a ‘sportworld’. As the artworld is an ‘atmosphere of theory’ and a ‘knowledge of history’ through which an event is interpreted and thereby constituted as art, so a sportworld is the atmosphere of theory through which an event is constituted as sport. I will argue that much of the existing discussion of the relationship between sport and art is grounded in an ill-conceived aesthetics. In order to be appreciated and appropriately interpreted, sport must be understood within a modernist aesthetics and hermeneutics. As such, the core issue of an aesthetics of sport is not that of beauty, but rather of the meaning of the sport, and what I shall call the capacity of sport to ‘speak as a world’ – to bring to consciousness through play the taken-for-granted cultural conditions through which our social lives are constituted, and within which metaphysical and normative problems are articulated. I will propose that the hermeneutics of music provides a useful model for the interpretation of sport. (shrink)

Immanuel Kant was a German philosopher. He is a central figure of modern philosophy, and set the terms by which all subsequent thinkers have had to grapple. He argued that human perception structures natural laws, and that reason is the source of morality. His thought continues to hold a major influence in contemporary thought, especially in fields such as metaphysics, epistemology, ethics, political philosophy, and aesthetics.

Sport, Ethics and Philosophy, Volume 6, Issue 3, Page 401-406, August 2012.

A complete translation of Aristotle's classic that is both faithful and readable, along with an introduction that provides the modern reader with a means of understanding this seminal work and its impact on our culture. In this volume, Joe Sachs (translator of Aristotle's _Physics, Metaphysics,_ and the _Nicomachean Ethics _)also supplements his excellent translation with well-chosen notes and glossary of important terms. Focus Philosophical Library translations are close to and are non-interpretative of the original text, with the notes and a (...) glossary intending to provide the reader with some sense of the terms and the concepts as they were understood by Aristotle’s immediate audience. (shrink)

This book constitutes one of the most important contributions to recent Kant scholarship. In it, one of the pre-eminent interpreters of Kant, Henry Allison, offers a comprehensive, systematic, and philosophically astute account of all aspects of Kant's views on aesthetics. The first part of the book analyses Kant's conception of reflective judgment and its connections with both empirical knowledge and judgments of taste. The second and third parts treat two questions that Allison insists must be kept distinct: the normativity of (...) pure judgments of taste, and the moral and systematic significance of taste. The fourth part considers two important topics often neglected in the study of Kant's aesthetics: his conceptions of fine art, and the sublime. (shrink)

Beyond Aesthetics brings together philosophical essays addressing art and related issues by one of the foremost philosophers of art at work today. Countering conventional aesthetic theories - those maintaining that authorial intention, art history, morality and emotional responses are irrelevant to the experience of art - Noël Carroll argues for a more pluralistic and commonsensical view in which all of these factors can play a legitimate role in our encounter with art works. Throughout, the book combines philosophical theorizing with illustrative (...) examples including works of high culture and the avant-garde, as well as works of popular culture, jokes, horror novels, and suspense films. (shrink)

Art in Three Dimensions is a collection of essays by one of the most eminent figures in philosophy of art.

In this book, which remained unfinished at his death, Husserl attempts to forge a union between phenomenology and existentialism.

In The Abuse of Beauty, art critic and philosopher Arthur Danto explains how the notion of beauty as anathema to art arose and flourished and offers a new way of looking at art and beauty. He draws on the thought of artists, critics, and philosophers such as Rimbaud, Fry, Matisse, and Greenberg, to reposition beauty as one of many modes -- along with sexuality, sublimity, disgust, and horror -- through which the human sensibility expresses itself. 20 black-and-white illustrations are included.

»Selten hat in den neueren Jahrhunderten ein philosophischer Erstling so durchgeschlagen und einen so unverrückbaren Platz unter den >großenHans Georg Gadamer in DIE ZEIT Nr. 47 vom 19.11.1982.

This book explores the aesthetics of the objects and environments we encounter in daily life. Thomas Leddy stresses the close relationship between everyday aesthetics and the aesthetics of art, but places special emphasis on neglected aesthetic terms such as ‘neat,’ ‘messy,’ ‘pretty,’ ‘lovely,’ ‘cute,’ and ‘pleasant.’ The author advances a general theory of aesthetic experience that can account for our appreciation of art, nature, and the everyday.

Sport, Rules and Values presents a philosophical perspective on some issues concerning the character of sport. Central questions for the text are motivated from real life sporting examples as described in newspaper reports. For instance, the (supposed) subjectivity of umpiring decisions is explored via an examination of the judging ice-skating at the Salt Lake City Olympic Games of 2002. Throughout, the presentation is rich in concrete cases from sporting situations, including baseball, football, and soccer. While granting the constitutive nature of (...) the rules of sport, discussion focuses on three broad uses commonly urged for rules: in defining sport; in judging or assessing sport (as deployed by judges or umpires); and in characterizing the value of sport, especially if that value is regarded as moral value. In general, McFee rejects a conception of the determinacy of rules as possible within sport, and a parallel picture of the determinacy assumed to be required by philosophy. (shrink)

Everyfan -- Definitions : praise, beauty, athletics -- Discontinuities : demigods, gladiators, knights, ruffians, sportsmen, Olympians, customers -- Fascinations : bodies, suffering, grace, tools, forms, plays, timing -- Gratitude : watching, waste.

Functional beauty in the aesthetic tradition -- Functional beauty in contemporary aesthetic theory -- Indeterminacy and the concept of function -- Function and form -- Nature and environment -- Architecture and the built environment -- Artefacts and everyday aesthetics -- The functions of art.

Kant and the Claims of Taste, published here for the first time in paperback in a revised version, has become, since its initial publication in 1979, the standard commentary on Kant's aesthetic theory. The book offers a detailed account of Kant's views on judgments of taste, aesthetic pleasure, imagination and many other topics. For this new edition, Paul Guyer has provided a new foreword and has added a chapter on Kant's conception of fine art. This re-issue will complement the author's (...) companion volume, Kant and the Experience of Freedom, which places Kant's aesthetics in its historical context and examines the fundamental connection between Kant's aesthetics and his moral theory. (shrink)