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is now re-issued with a new introduction by Thomas Hurka and with additional material (much of it previously unpublished) by the author, in which he expands on the ideas put forward in The Grasshopper and answers some questions that have been raised by critics.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)

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)

An 'Essay on man' is an original synthesis of contemporary knowledge, a unique interpretation of the intellectual crisis of our time, and a brilliant vindication of manís ability to resolve human problems by the courageous use of his mind.

This paper begins with the decisive moment of the 2010 Champions League final, as Diego Milito dribbles past van Buyten to settle the score. By taking a closer look at this situation we witness a complex and ambiguous movement phenomenon that seems to transcend established phenomenological accounts of performance, as a creative performance such as this cannot be reduced to bodily self-awareness or absorbed skilful coping. Instead, the phenomenon of the feint points to a central question we need to ask (...) when investigating performance in football: ?How can one intentionally transcend the expectations of others?? In order to clarify this, the paper will conduct a contextual analysis of a feint drawing on existential philosophy and phenomenology. The main argument is that the feint incarnates a fundamental and indispensable strategy in the game context of football and the analysis of it throws light on central existential phenomena involved in game creativity, with appearance, seduction, commitment and value being the focal ones. The analysis suggests a broader notion of expertise by pointing to the need of stressing the dynamic and social game context. What the feint explicates is that in football it is not enough to be aware of your own body or rely on your embodied habits. In order to cope in the game situation it is also necessary to be absorbed in the other and transcend his or her expectations. (shrink)