An ethnographer's account of his study of jazz-piano playing, which led to discoveries concerning the ways his hands learned about the keyboard and improvisation, sheds light on the nature and range of improvised conduct.

This book is an important contribution to the philosophy of music. Whereas most books in this field focus on the creation and reproduction of music, Bruce Benson's concern is the phenomenology of music making as an activity. He offers the radical thesis that it is improvisation that is primary in the moment of music making. Succinct and lucid, the book brings together a wide range of musical examples from classical music, jazz, early music and other genres. It offers a rich (...) tapestry incorporating both analytic and continental philosophy, musicology and performance-practice issues. It will be a provocative read for philosophers of art and musicologists and, because it eschews technicality, should appeal to general readers, especially those who perform. (shrink)

In this paper I take up John Searle's account of ?Background capacities? to render intelligible the presupposed and hidden aspects of the background conditions that enable the performance of skilled movement. The paper begins with a review of Searle's initial account of Background capacities and how this picture can be applied to account for skilled movement in sport. Then an objection to this picture is addressed, claiming that Searle's initial picture might ?overrepresentationalise? background conditions. Moreover, this objection prompts how Searle (...) has modified his initial picture of background conditions in accordance with his more recent ?connection principle?. Searle's recent account of background conditions is then elaborated and discussed in the second half of the paper. The discussion emphasises three distinct levels of analysis in Searle's framework necessary to a full understanding of his background conditions: (i) the neurophysiological level; (ii) the descriptive higher-order practical skill level; and (iii) the logical level of integration. It is argued that Searle's logical framework is found plausible, but that more work is needed to better understand the background conditions of skilled movement in terms of neurophysiological capacities and practical skills from both scientific and philosophical perspectives. (shrink)

This paper contains a consideration of the notion of genius and its significance to the discussion of the aesthetics of sport. We argue that genius can make a positive aes- thetic contribution in both art and sport, just as some have argued that the moral content of a work of art can affect its aesthetic value. A genius is an exceptional inno- vator of successful strategies, where such originality adds aesthetic value. We argue that an original painting can have greater (...) aesthetic value than an exact replica, merely because it is the original. By parity of reasoning, a successful innovation in sport has additional aesthetic value just because it is a new creation. The genius is one who can provide this extra aesthetic pleasure and on that basis is rightly valued. The genius need not be conscious of how they achieve such innovations and thus find their own genius to be something they cannot explain but only demonstrate. In sport, innova- tions that offer new ways of playing or solving problems can produce competitive success which demands instant recognition and rewards. (shrink)

(2005). A Philosophical Critique of Classical Cognitivism in Sport: From Information Processing to Bodily Background Knowledge. Journal of the Philosophy of Sport: Vol. 32, No. 2, pp. 155-183.

Within the context of sports, the term 'miracle' is regularly associated with game-winning shots, holes-in-one, completed Hail Marys and other improbable outcomes. These conceptions of miracles largely focus on the success of specific sport actions at specific times when such success is deemed highly improbable. While prominent in the popular sports literature, most scholars agree that this perspective on miracles is very simple and highly unsophisticated. Events portrayed as simply 'beating the odds' would represent pale versions of miracles at best. (...) Some conceptions of miracles, however, include characteristics that reach beyond improbable outcomes. From more sophisticated perspectives, miracles are often viewed as divine action guiding the ordinary course of human experience. To be considered 'miraculous', improbable outcomes in sport would need to be perceived as interactions between the supernatural (God or other divine entity) and the natural (physical world). In addition, miraculous occurrences would have to be a part of a divine master-plan. Scholars argue that without such connections, miracles would yield no direction or meaning to the evolving world. The differences between these two perceptions raises several questions: Why do some view these extraordinary athletic performances from spiritually sophisticated perspectives while others have not the 'ears to hear' or the 'eyes to see' the divine possibilities in these experiences? Why are common uses and perceptions of miracles in sport simplistic and thin? What is a sophisticated view of miracles? What human abilities and processes are needed for one to achieve a sophisticated perspective? And, finally, what is the purpose of the true or sophisticated miracle in sport? In this paper, I will examine the notion of the miracle in sport. At its core, this paper describes how an athlete intellectually and spiritually moves from the unsophisticated to the sophisticated conception of a miracle. Through the writings of James, Lewis, Polanyi and others, I will show how human intellectual operations allow one to have 'ears to hear' and 'eyes to see' the spiritually miraculous in sport. I will begin by presenting an unsophisticated version of miracles in sport. After critically examining several types of miracles, I will present a more sophisticated definition. I will then explore the human processes necessary to view miraculous experiences in sport as interactions between the natural and the supernatural rather than interpreting these experiences simply as improbable outcomes. Finally, I will show how miracles present opportunities for spiritual conversion and have a use and place in the divine's master plan. (shrink)