It is popularly believed within sport's practice communities that a contest fails if the competitor who performs most skilfully in it does not win. The belief is rarely acknowledged explicitly, and therefore deserves to be considered ideological in a sense. In this paper I challenge that belief. For conceptual reasons, I confine the discussion to the purposive sports, e.g. football and tennis. The concept of skill is approached by articulation of a set of platitudes about skill in the purposive sports. (...) The first is the conceptual wedge between skill and success. The second is the distinction between skill and other performance-relevant qualities such as courage, strength and luck. The third is the fact that skill deficits can be compensated by sufficient amounts of the other performance relevant qualities. The fourth is the dispositional and dynamic character of skill. The relation between skill and final objectives in the purposive sports means that (i) qualities such as nerve and courage can trump the more skilful performance; and (ii) poor execution of a narrow range of skills can result in the competitive failure of the more skilful performance. There is no viable ideal of sport that would ground regret about the realisation of the immediately preceding possibilities. The inclination towards such regret might be partly motivated by the wish to take a gratifying view of ourselves. An end to this response, and a more inclusive, less hierarchical conception of sport skills, is worth recommending. (shrink)

Sport is a producer of both emotional and aesthetic experiences. But how do these relate? Does a spectator’s emotional engagement in sport enhance or hinder it as an aesthetic experience? And does the aesthetic perception of sport enhance or hinder the emotional experiences? These questions will be addressed with particular reference to the distinction that can be drawn between partisan and purist watchers of sport, and making use of thinking in contemporary aesthetics and philosophy of emotion. There are some reasons (...) to think that emotion and aesthetics pull in opposite directions, in both sport and wider life. Does a purist miss out on the essence of sport if they adopt a detached aesthetic attitude? If that were the case, it would suggest that the sports spectator might have to choose between the two: experiencing one or the other but not both at the same time. Emotions and aesthetics would be a trade-off but I argue for some significant exceptions to this conclusion. (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)

Skill is obviously a central part of sports and should therefore be central in sport philosophic studies. My aim in this paper is to try to place skill in a wider context and thus give skill the place it deserves. I will do this by taking up four points. I first try to place the concept of skill in relation to concepts like ability and know how. I argue that ability is something one has as part of a natural endowment, (...) but skill is something one must acquire. ‘Knowing how’ seems to a greater extent to demand a cognitive grasp and is thus more than a skill. My second point is about development of skills toward expertise and the role of thinking and consciousness. When one is exercising a skill does one need to be conscious of what one is doing or can one act like a zombie and perform non-consciously? I argue that expertise demands know how and conscious thinking. My third point is about the role of skills in sport competitions. What we measure in sports are different sporting skills as they are disp... (shrink)

This paper is a response to Nicholas Dixon's defence of the moderate partisan as the ideal fan of team sports. For Dixon, the moderate partisan is someone who combines a partisan fan's loyalty for a particular team with a purist fan's desire to see fair and skilful play by all participants. My aim is to argue that there is no ideal fan of team sports. In particular, there is nothing specially commendable about the moderate partisan's loyalty that justifies the claim (...) to be the ideal fan. There are many other ways of being a fan than being a purist or a partisan as described by Dixon. None of them is morally superior to the other, assuming that they meet basic requirements of respect for others and for fair play. I argue that the commitment of partisan fans to particular teams is better explained by other values than the moral virtue of loyalty. A better explanation and justification of partisanship, and indeed of fan interest in sport generally, is found in the human attachment to narrative as a way of creating meaning in our lives. (shrink)

(1986). Sport, Art, and Particularity; The Best Equivocation. Journal of the Philosophy of Sport: Vol. 13, No. 1, pp. 49-63. doi: 10.1080/00948705.1986.9714441.

In Watching Sport, Stephen Mumford distinguishes two ways in which sport can be seen. A purist sees it aesthetically while a partisan sees it competitively. But this overlooks the obvious point that most sports fans are neither entirely purist nor entirely partisan. The norm will be some moderate position in between with the purist and partisan as ideal limits. What is then the point of considering these pure aesthetic and pure competitive ways of seeing? In this discussion note, I consider (...) possible accounts of the way in which the moderate spectator watches. After rejecting what I call a pure perception theory and a mixed view, I defend an oscillation theory. This means that the moderate sports fan is one who switches, sometimes rapidly, between the aesthetic and competitive perceptions of sport. A pay-off of this account is that we do not need a further, third way of perceiving sport in order to account for the moderate. It has been explained in terms of our original two forms of perception. This fills a lacuna in Mumford's account. (shrink)

J.S. Russell, Stephen Mumford, and Randolph Feezell have criticized my view that zealous partisans of a particular team are superior to purists, who derive an esthetic pleasure from good play by any team. All three philosophers extol the virtues of purism and Russell defends a pluralistic view that rejects the very idea of an ideal type of fan. In response, I renounce the claim that partisans are superior to purists and instead propose a more modest defense of partisanship. Moderate partisan (...) fans, who constrain their support by moral and esthetic criteria, exhibit admirable concern for their team’s wellbeing, have unique opportunities to display moral virtue, and are necessary for the welfare of competitive sport. Partisans’ choice of team is influenced by arbitrary factors but arbitrariness is built into the very nature of sport and applies equally to purists’ admiration of athletic excellence. It diminishes neither the value of athletic excellence nor the value of partisans’ devotion to their team. (shrink)

This paper explores the view that, on Mumford’s account of the purist, to the degree that the purist adopts an aesthetic perspective, he or she doesn’t watch the sport in question, and to the degree that he or she does watch the sport, there is a loss of aesthetic appreciation. The idea that spectators oscillate between partisanship and purism means that the purist is unable to avoid either the Scylla of not actually watching the sport, or the Charybdis of loss (...) of aesthetic appreciation at any given point. Ultimately there seems to be both a sport-shaped hole and an aesthetic-shaped hole in Mumford’s account of the purist. It is argued that oscillation is incapable of dealing with the problem precisely because it is disjunctive in nature and entails the spectator either watching sport from an aesthetic perspective or from a partisan perspective at any given time. An alternative conception of the aesthetic is considered that offers one way of dissolving the purist’s dilemma. (shrink)

Modifying a contrast introduced by Dixon, Stephen Mumford distinguishes between ‘partisan’ and ‘purist’ ways of watching sport. Recognising that the extreme partisan and extreme purist positions do not explain the nature of sports spectatorship, Mumford follows Dixon in adopting the idea of moderate partisanship. He outlines three theories of spectatorship designed to address the issue of the relationship between the partisan and the purist ways of viewing sport. The true perception theory regards the moderate fan as able to see the (...) event as it really is, rather than concentrating on an aspect. The mixture theory is the view that ‘the moderate partisan has both partisan and purist perceptions of sport in some mixed way’. The oscillation theory, which Mumford favours, holds that the moderate sports fan switches or oscillates between competitive and aesthetic ways of watching sport... (shrink)