Aesthetics of Sport

This article discusses the relationship between archery and aesthetics, developing two central claims. First, in order to deliver successful results, the archer should attend not only to efficiency, technique and equipment tuning but also to the aesthetic experience; second, archery shooting methods embody and express ‘life-issue’ statements and desires concerning our relationship with the world. Depending on the archer’s shooting style, i.e., depending on the way in which a shot is executed and performed, the archer’s ‘sportive philosophy’ is, so to (...) speak, unfolded and made apparent. Specifically, I will argue that instinctive archery strives for flexibility and versatility toward the environment and with respect to one’s own body, whereas non-instinctive approaches sharpen effectuality and results by flattening the surroundings and limiting one’s own performative freedom. Exploring this idea, I will discuss the aesthetic underpinnings of archery, also showing in which ways different shooting methods lay the ground for irreducible aesthetic experiences of self-expression. (shrink)

Somaesthetics and Sport (ed. Andrew Edgar, Brill, 2022) is a multifaceted collection of essays: Richard Shusterman’s theoretical framework is robust enough to lend unity to the volume, but it mostly functions as a springboard for the individual papers, never suffocating their theoretical explorations or making the book repetitive or a boring read. The ten essays also communicate with one another through certain recurring notions such as agency, somatic awareness, the Suitsian account of games or the interdisciplinary intertwining of philosophical arguments (...) with the results of sport psychology and physiology. Displaying the various ways Shusterman’s somaesthetics can be used to further the philosophical analysis of the aesthetic experience of watching and doing sports, the volume fills a gap in the scholarship of the aesthetics of sport as well as in the interdisciplinary field of somaesthetics. (shrink)

The value of up-hill skiing is double, it is first a sport and artistic expression, second it incorporates functional dependencies related to the natural obstacles which the individual aims to overcome. On the artistic side, M. Dufrenne shows the importance of living movement in dance, and we can compare puppets with dancers in order to grasp the lack of intentional spiritual qualities in the former. The expressivity of dance, as for, Chi Gong, ice skating or ski mountaineering is a particular (...) innocence and lightness which is called grace. It is life without the burden of worries. Grace, in slow progression uphill on snow, is as dance for Dufrenne, it has the most central and specific aesthetical quality of life. Others compared dance to a landscape, a landscape is for the sight, what dance is for life, a symbolical space, different from a usual space, where utility and dependency are present. A mountain can be a space of experience of natural beauty. Aesthetical qualities can be closely related to function related qualities as when a climber needs to adjust his movements to the natural convex inclination of the rocks, and avoid slippery forms of inclination, present on the other side of the mountain. The natural object, the quality of the snow or the rock differ from the aesthetical quality of the style of ascent by the absence of neutralization of the object, in case of a purely instrumental approach. On the contrary, grace in the rhythm of the progression of ski climbers needs a difference of attitude, which is not only proper to the playing, and delimited by the conditions of that play, but as a contingency driven attitude, without signification as radical alterity, without any finality. First ascent of the Matterhorn succeeded from the Swiss side, and not from the Italian side because of the different inclination of the rock on both sides. Grace in dance as in martial art or mountaineering is allowing to perceive an autonomy of the expression, as the truth of the perceived object, it puts away a cognitive and practical orientation and replaces it by a new meaning as movement in the whole set of movements done by the climber. This replacement of the functional expression resembles that operated by the painter who chooses a color in the whole set of colors in a painting, or a shape in the whole set of possible existing shapes. -/- Ref. Dufrenne, Mikel, (1989): The Phenomenology of Aesthetic Experience. Studies in Phenomenology and Existential Philosophy, trans. by Edward S. Casey, 1st publ. in 1953, Evanston: Northwestern University Press. (shrink)

I consider what draws us to perceiving beautiful bodies in art and athletics--repeatedly and over time--that is informed by viewers' changing perceptions derived from recent publications in fashion and sport, the philosophy of sport, feminist film theory and aesthetics under the ever-expanding umbrella of somaesthetics. This paper won the American Society for Aesthetics 2023 Somaesthetics Prize.

This research paper assesses the possible relationship between motivation and academic performance of student athletes and utilized a descriptive design as it investigated the association between two constructs (variables) of student athletes, namely their motivation and academic performance. The research is descriptive correlational research with sixty (60) student athlete respondents coming from the various varsity teams in a selected university in the city of Manila. The descriptive nature and design of the study would require that descriptive statistics and measures of (...) association be utilized to analyze the relationship between the two constructs of the study – motivation and academic performance. The (SAMSAQ) was chosen as the research instrument to collate the necessary descriptive data, upon which a correlation analysis through the Pearson was administered. After the statistical analysis, the following were the conclusion of the study: (1) That there was a perfect positive relationship between responses of the student – athletes in the thirty (30) SAMSAQ items and their GPA’s; (2) That the relationship between motivation and academic performance of respondents, as represented by their mean scores of responses and GPA’s respectively are not of the same strength and significance for negatively and positively – structured queries of the SAMSAQ; (3) That the mean scores of responses in negative and positive impact queries of respondents and its relationship with their GPA’s, representatives of the measures of motivation and academic performance are incomparable as the Likert scale is inverted for the negatively structured queries, where behavior adverse to academic performance is sought. (shrink)

The past 15 years have seen an increase in interest in the martial arts by philosophers in the Anglo‐American tradition. Evidence includes two collections of essays and a book‐length study of the Asian martial arts from the perspective of western philosophy. In this article I summarize some of the most significant recent contributions to the philosophical aesthetics of the martial arts and suggest further areas for development. I begin in the first section with some general considerations regarding the martial arts (...) as arts. In the sections that follow, I consider the martial arts in conjunction with three established areas of philosophical aesthetic inquiry: dance, sport, and everyday aesthetics. In the final section I offer some additional areas for development. (shrink)

ABSTRACT This paper seeks to develop a philosophical framework for what I argue are the Nietzschean and Kantian aspects of professional boxing matches: narrative dissimulation and moral obligation. The overarching objective of the analysis is to shed a critical light on brief intervals of boxing competitions (the minute between rounds) that are crucial but often overlooked in the philosophical literature devoted to boxing and, indeed, combat sport more generally. Additionally, in characterizing more fully the philosophical complexities of cornerman and boxer (...) interactions in the flow of such a violent and dangerous sport, the analysis aims to make explicit some of what is unique—and uniquely problematic—to competing in and coaching professional pugilism and, by extension, other combat sports, such as mixed martial arts (MMA) and Muay Thai. (shrink)

The outcomes of sports and competitive games excite intense emotions in many people, even when those same people acknowledge that those outcomes are of trifling importance. I call this incongruity between the judged importance of the outcome and the intense reactions it provokes the Puzzle of Sport. The puzzle can be usefully compared to another puzzle in aesthetics: the Paradox of Fiction, which asks how it is we become emotionally caught up with events and characters we know to be unreal. (...) In this article, I examine the prospects of understanding our engagement with competitive games on the model of our engagement with works of fiction, thus enabling analogous explanations for both puzzles. I show that there are significant problems with such an approach and offer an alternative, mobilizing ideas from David Velleman and Thomas Nagel, that appeals to the volatility of our motivational attitudes. (shrink)