Ted Williams breathes life into Camus' Sisyphus; Billy Martin's competitiveness recalls Niccolo Machiavelli's take on politics; Satchel Paige echoes wisdom Marcus Aurelius; and DiMaggio's personality cry out for resolution that Nietzsche's doctrine of perspectivism might have given. The book offers a very practical application of Western philosophy by examining these icons of American sport and culture"--Provided by publisher.

If the morphology of baseball is similar to that of the fairy tale, it is obviously not because baseball is a form of narrative art. As my title suggests, insofar as baseball resembles literature at all in the way it manifests itself, it is clearly much closer to drama. Baseball takes place within a fixed, carefully delimited space that may be improvised but is reserved specifically for the purpose wherever the game is institutionalized. It is an (...) ensemble performance carried out by specially trained "players" in front of an audience for whom the occasion is a festive event that occurs as a suspension of ordinary life. It possesses a plot that develops in a limited period of time from initial situation through complication to denouement and has a relatively large number of dramatis personae who are sent into the playing area at a given moment in order to perform specific roles. Dennis Porter, associate professor of French and comparative literature at the University of Massachusetts, Amherst, has published widely on nineteenth- and twentieth-century French and English novels. He is currently an NEH fellow and is working on two books: one on plot and ideology in the novel, the other, The Alibi of Crime, on detective fiction. (shrink)

Few sports-related events have generated as much controversy as the steroid crisis in baseball. Both ardent fans and casual observers wonder why professional baseball players would choose to use such substances when their use was viewed as outside the bounds of fair play. This article attempts to answer that question by applying concepts from the area of organizational culture. Understanding the culture of baseball and the ways leaders embedded and strengthened that culture adds insight into the decisions (...) by athletes to engage in steroid use. In general, such use was consistent with the already-existing culture. In addition, key decisions and events likely created the conditions in which steroid use was more likely. (shrink)

Baseball rules prohibit pitchers from intentionally throwing at batters. When a pitcher does so, however, it is common practice for a pitcher on the opposing team to retaliate by throwing at the first player of the offending team to bat the next inning, and for umpires to ignore the rule forbidding that. I argue that player retaliation in the form of one for one is a better response to the initial violation than any other that is available, one for (...) one can be justified as payback and for anticipated good consequences, and everyone who becomes a professional baseball player has consented to the practice. From these claims, I conclude that one for one is in the best interest of baseball, it is best if umpires follow common practice and wink at the rule forbidding it, and players cannot complain if they are told to throw at batters in certain circumstances, or are thrown at in just those circumstances. (shrink)

The issue of income justice in professional sports, while a topic of high ethical and social interest, is nevertheless not at the forefront of research. The differences between team and individual sports are significant, and this article will focus on team sports, where income is generally set by fixed contracts rather than bonuses or money prizes. First, I will illustrate the overall problem by presenting some figures on the relation of athletes' salaries from Major League Baseball (MLB) to the (...) median income of the overall population in the USA. I will then outline a model of income justice based on David Miller's definition of social justice, and will discuss two separate claims against which player salaries ought to be justified: those of fellow US citizens and those of fellow MLB players. Incomes are just if they fulfill both demands. Finally, I conclude that the disproportionately high salaries of professional athletes such as those in MLB are socially unjust, and therefore should be limited either by the governing bodies of the respective leagues or by the state. (shrink)

The most valuable player (MVP) of an athletic league is the single best individual player in the league. The MVP award is the institutional recognition of this person, and it is the highest annual award that a player can receive. Despite its widespread consideration and importance, we argue that the concept of the MVP is a fundamentally vague concept. In the context of professional sports, however, such a vague category is valuable in that it promotes the active discussion of different (...) types of excellence found within a specific sport and the weight to be assigned these types, thus leading to a gain for the discussants. (shrink)

In this essay, I argue for the claim that the MVP is the player who provides the greatest net benefit to his team. I then argued for the following model of a player’s net benefit to her team. (1) A person’s, X’s, net benefit to the team is a function of the difference in team success when X plays and when her actual or likely backup plays. I argued that this model best satisfies our intuitions, measures actual value rather than (...) expected value, does not depend on arbitrary assumptions, and tends to track the way in which a team would economically value a player. The two do not align exactly, since economic valuation is future looking and net benefit is backward looking. Leaving aside concerns about player-related contribution, this model provides a right answer to the question of who is a league’s MVP. It also captures the comparative value of players within a team. (shrink)

Stephen Kershnar’s model of the most valuable player fails. It does not track total value and this is what a team values, although perhaps the best model should focus on player-related value. In any case, the model does not succeed as a model of player-value because player-value is indeterminate. The indeterminacy results from boundary problems with the player-role and, perhaps also, indeterminacy in the baseline state. In addition, Kershnar’s framework is misguided because winning is not intrinsically valuable and is not (...) even something wanted for its own sake. The MVP problem remains unsolved. (shrink)

This paper criticizes two closely connected rationalist views about human agency. The first of these views, rationalism about agential control, claims that the capacities for agential control in normal adult human beings are rational capacities. The second view, rationalism about action, claims that the capacities for agential control in virtue of which the things we do count as our actions are rational capacities. The arguments of the paper focus on aspects of technical skills that control integral details of skillful action, (...) like the details of a baseball player’s pitching technique. I argue that these aspects of technical skills are largely non-rational capacities, but are nonetheless capacities for agential control, and can help make the things we do count as actions. While rational capacities do have a central role in human agency, their importance should not lead us to neglect the significant constitutive role of non-rational capacities in our agency. (shrink)

Philosophers’ intuitions about what constitutes autonomy are largely driven by the exemplars or paradigms that we recognize. There are indefinitely many exemplars, inasmuch as there are relatively private personae that serve as autonomy exemplars such as our parents, third grade teacher, or, for the megalomaniac, oneself. But among Western philosophers there are doubtless some exemplars that are widely shared and broadly influential. Philosophical exemplars include Socrates, Aristotle’s magnanimous man, Kant’s noumenal self that is perfectly attuned to the moral law, Mill’s (...) anti-authoritarian non-conformist, Marx’s manin-society, Nietzsche’s Zarathustra, and Sartre’s authentic youth who must decide whether to join the French resistance or stay at home for the sake of his mother. Exemplars from outside of philosophy include Antigone, Christ, Faust, Ibsen’s Enemy of the People, Winston Churchill, and even figures from popular culture such as the baseball player Ted Williams, the free spirited flower children of the 1960s, and practically any character that John Wayne ever played. (shrink)

When it comes to explaining someone’s puzzling, objectionable, or otherwise problematic behavior, one type of explanation occasionally employed in the service of doing so is as follows: “That’s just so-and-so being so-and-so.” But what, exactly, do explanations of the type “That’s just so-and-so being so-and-so” mean? More specifically, in what way, if any, is it meaningful or informative to say such things? And what is the precise function of such explanations of someone’s behavior? Is it merely to present what one (...) takes to be the underlying causes of the behavior, or something beyond that? In what follows, I lay out a few possibilities—basic possibilities, to be precise, given philosophy’s keen interest in fundamentals—with respect to the various meanings, functions, and moral implications of explanations of the type “That’s just so-and-so being so-and-so.” While doing so, I apply these basic possibilities to three tokens of this kind of explanation: “That’s just Manny being Manny” (in reference to Manny Ramirez, the former professional baseball player), “That’s just Charlie being Charlie” (in reference to Charlie Rose, the former television host), and “That’s just Trump being Trump” (in reference to Donald Trump, the current President of the United States). (shrink)

A division between functional belief, on the one hand, and judgmental belief, on the other, is central to Sosa’s two-tier virtue epistemology. For Sosa, mere functional belief is constituted by a first-order affirmation. In contrast, a judgmental belief is an intentional affirmation; a performance which is partially constituted by the believer’s endeavor to affirm truthfully, and reliably enough. If, qua performance, judgmental belief is like the hunter’s shot or the baseball player’s swing, mere functional belief is much more like (...) a heartbeat. This paper explores whether we should accept Sosa’s distinction between mere functional belief and judgmental belief, and, if we should, how recognizing this distinction ought to shape our epistemological theorizing. Accordingly, the first aim of this paper is expository. It is to further clarify Sosa’s contrasting categories of functional belief and judgmental belief and to attempt to characterize explicitly the role that the division between functional belief and judgmental belief plays in Sosa’s two-tier virtue epistemology. The second aim of this paper is more critical. It is to articulate and begin to evaluate a series of concerns regarding whether Sosa’s division between functional belief and judgmental belief is well-founded, and so to explore whether a virtue-theoretic performance epistemology ought to embrace the sort of two-tiered account of cognitive performance that Sosa favors. (shrink)

Studies prove that positive thinkers are happier, healthier, and more successful than everyone else. Discover the simple, proven techniques for becoming a more positive person... Positive thinking leads to positive outcomes. Study after study proves this. Researchers have found that optimistic people live longer, live healthier, have more energy, have more successful careers, make better decisions, are more productive, are less stressed, have healthier relationships, and (not surprisingly) are much happier than pessimists. However, a lot has been misunderstood about what (...) it means to be a positive thinker and what it takes to maintain an optimistic mindset. It takes a lot more than repeating feel-good platitudes to make positive thinking work in your life. It takes discipline, commitment, and a proper understanding of what optimism really means in a world that is constantly throwing new challenges at us. This is a book for anyone who has ever questioned whether positive thinking really "works." It's also a book for those who have tried to develop a more positive attitude, but have found it difficult to eliminate the voices of fear, doubt, and cynicism. This is a book for anyone who wants to put optimism to work in their life with practical, proven techniques. In this inspirational fable, you'll meet Bobby Kane, a 31-year-old minor league baseball player who realizes his dream of making it to the majors is finally coming to a disappointing end. His dream, he believes, was not meant to be. That is, until Bobby meets an unconventional manager named Wally Hogan. More mental coach than baseball manager, Wally teaches Bobby that if you want to change your life, you have to first change your thinking. As you'll see in this book, developing a positive mindset gives Bobby a renewed chance to make his dreams come true-not just in baseball, but in all areas of his life. Wally teaches Bobby what it means to be an optimist and what it takes to maintain a positive attitude through the ups and downs of life. He teaches him proven, real-world techniques for building and sustaining optimism. These methods have an immediate impact on Bobby's life and they will have an immediate impact on yours as well. This book will show you just how powerful a positive attitude can be and it will teach you how to use positive thinking to make your biggest dreams come true. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Feminist Studies 41, no. 2. © 2015 by Feminist Studies, Inc. 463 Kawika Guillermo Libido Ergo Sum Sitting atop a red beanbag stained with dark splotches, Kelsey watched the tells from the five boys sitting on the carpet in front of her. One by one they gave away their hands, their eyes dodging hers, perhaps afraid of her female intuition. She loved these surreptitious moments, when her boys tried (...) to fool her, believing that they had her in their clutches, as if she couldn’t help but be pulled by their charms. Kelsey went all in, moving her chips into the middle of the carpet. Kaleb’s mouth grinned to the right while Gabriel impatiently tapped on his knee, keeping beat with the remixed 80’s tune coming from the large boom box behind him. Billy’s face was in a gleeful Leave-It-to-Beaver of daffiness, and Michael’s dumbfounded expression—worn to distract her— was put out by a nervous scratch of his neck. After each had pussied out, Kelsey leaned over to distract them further with her cleavage as she picked up the red playing cards, her hair settling onto the boys’ laps as if to imitate fellatio. “Alright, pussy bitches,” she said, collecting the chips and stirring the toothpick in her mouth like a mortar. “Pass’em down,” pointing to the gold dealer’s piece. “Big blind, little blind.” She watched the world as if from a recliner and saw herself dealing the next hand with the finesse of a professional dealer. Her gaze circled the carpet of poker players. Their eyes never met hers. In every house party Kelsey hosted, she always saw a faint bleakness in her guests. She always cleaned them out, her eyes scanning them like food at a supermarket, unveiling their moves with every glance. She watched them all at once: Jackson wiping his mouth, Michael adjusting his glasses, Gabriel 464 Kawika Guillermo chewing on bubblegum in loud smacks, Billy grinning as he mouthed curse words. Finally, Kelsey took only a glimpse at her own cards before doubling the ante. Tommy shrugged and tossed his cards; Michael met her raise and she went all in. She noticed these patterns all between them. She saw their reactions before they even happened: Michael shaking his head and calling her a bitch as he splashed his cards onto her living room carpet. At two in the morning she drank two tequila shots in the kitchen with Paul, one of the many toxic men that she had invited to her party from work. He was a sturdy baseball player/lightweight alcoholic, toxic in his thoughtless remarks on meeting schedules, upcoming due-dates, and portfolios. “Then you put the salt on your thumb, or whatever,” Paul said, shaking up a bottle of Patrón Silver, as if it needed to be shaken. Kelsey stuck out her shot glass for another. A year ago she would have been doing homework, playfully kicking off the dust of the world with a big biology textbook in her hands. Since then, she had discovered that there was a pattern to debauchery that led to some existential fulfillment—a realizing of herself as a living substance—an uber-debauchery. Refusing to dilute her angst into anything but total surrender, she was still a Vegas girl, willing to throw herself into in the Las Vegas rites of passage of drunk driving, diving nude into neighbor’s pools, and waking up in hotel rooms with a hundred dollar bill on the cupboard, weighted in place by Gideon’s Bible. “Another sausage fest,” said a man in a cowboy hat and vintage overalls. Kelsey didn’t know him. He sat on the countertop like the Cheshire Cat and flipped through a book of bumper stickers. He wore one with the words “Libido Ergo Sum” on his forehead. “All right!” another drunken voice shouldered through waves of sound: “Seize the day!” “James’s baby sure looks cute tonight,” said another drunken voice. “’Course no one would try, except this guy.” The man in the cowboy hat smiled up at her. “How come you don’t invite your girlfriends to your parties?” “I don’t have... (shrink)

We review the current state of play in the game of naturalizing content and analyse reasons why each of the main proposals, when taken in isolation, is unsatisfactory. Our diagnosis is that if there is to be progress two fundamental changes are necessary. First, the point of the game needs to be reconceived in terms of explaining the natural origins of content. Second, the pivotal assumption that intentionality is always and everywhere contentful must be abandoned. Reviving and updating Haugeland’s (...) class='Hi'>baseball analogy in the light of these changes, we propose ways of redirecting the efforts of players on each base of his intentionality All-Star team, enabling them to start functioning effectively as a team. Only then is it likely that they will finally get their innings and maybe, just maybe, even win the game. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.1 (2002) 157-172 [Access article in PDF] Symposium: On Ken Burns's "Jazz" Jazz: America's Classical Music? 1 Lee B. Brown I VIEWERS OF KEN BURNS'S third cultural epic "Jazz" probably fell into one of three categories. 2 Some found it gripping. Some found it grating. Some found it both at once.The series has unforgettable moments: spectacular jitterbug sequences; Jimmy Lunceford's horn men fanning their trumpet bells (...) with hat mutes in sync; the close-up of the whirring cross-hand drumming of Art Blakey; the bitter-sweet glance Billie Holiday and Lester Young exchange in their last filmed appearance together; the occasional marriage of visuals to music. One riveting three minutes comes when the talking heads tune out, a 78-rpm disk of Louis Armstrong's "West End Blues" is set spinning, and the thrilling notes pour out on a carousel of visual imagery—finally freeze-framing on the face of the young genius himself.On the downside, the series is massively repetitious. As a result of Burns's decision to track two major figures—Louis Armstrong and Duke Ellington—from cradle to grave, the same cuts of Armstrong appear again and again, no matter what the time frame. Some of the series' commentators are particularly annoying—the fiddler of Burns's Civil War series, Matt Glaser, for instance, with his fatuous theories [End Page 157] about Louis Armstrong and Albert Einstein. And the documentary's heavy load of social freight—by Wynton Marsalis, and his mentors Albert Murray and Stanley Crouch 3 —threatens to flatten the music.The series is designed as informative entertainment, not Jazz 101. But Burns pays a price here, as he did in his documentary about baseball, in which not even the basics of the game, let alone any of the subtleties, were explained. In "Jazz" we get no explanation of what Jelly Roll Morton did to transform ragtime into jazz. (The series could easily have pressed Morton himself into service. With no sacrifice of his considerable charm, Morton did explain it, beautifully, in his recorded Library of Congress interviews. 4) Although the swing era gets big billing, no attempt is made to explain how swing rhythm actually works, as contrasted with earlier practices. (I have watched swing drummer Panama Francis entertain a packed hall with a brief but riveting illustration of how it works.)As jazz history, the film also has problems. Some legendary figures are resurrected unconvincingly. When Marsalis tells us what the legendary trumpet player Buddy Bolden sounded like, the illustrative off-camera trumpet is Marsalis's, not Bolden's, who embedded not one note in a record groove. Further, we face the tiresomely obvious problem of omissions. We hear nothing of Albert Ayler, Keith Jarrett, Sun Ra, Mildred Bailey, Benny Carter, Lennie Tristano, Erroll Garner, Eric Dolphy, Art Pepper, or Woody Herman. All we learn about Bill Evans—whose influence on jazz piano was huge—is that Miles Davis hired him even though he was white. Omissions are inevitable, of course. But there is a muted pattern to the exclusions. It was impossible for the series to avoid Benny Goodman, given his central role in the swing era. But white figures are too often either ignored or treated as alienated outsiders. We hear New York Times columnist Margo Jefferson opine that Bix Beiderbecke drank himself to death because he wasn't allowed to play with black musicians. In fact, many of the greatest players—white and black—never played with musicians of their own caliber.Most figures covered in the film are treated either with respect or with reverence. But things get nasty when matters turn to avant-gardists. Thus, Branford Marsalis—Wynton's talented brother—singles out the volcanic pianist Cecil Taylor for a particularly hostile attack. 5 Instead of explaining what Ornette Coleman meant by "free jazz," Albert Murray tells us that jazz is, by definition, free music—and by implication, that Coleman's concept must be fatuous. And Wynton has complained [End Page 158] elsewhere about a jazz avant-garde retreat into what he calls "a... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.1 (2002) 157-172 [Access article in PDF] Symposium: On Ken Burns's "Jazz" Jazz: America's Classical Music? 1 Lee B. Brown I VIEWERS OF KEN BURNS'S third cultural epic "Jazz" probably fell into one of three categories. 2 Some found it gripping. Some found it grating. Some found it both at once.The series has unforgettable moments: spectacular jitterbug sequences; Jimmy Lunceford's horn men fanning their trumpet bells (...) with hat mutes in sync; the close-up of the whirring cross-hand drumming of Art Blakey; the bitter-sweet glance Billie Holiday and Lester Young exchange in their last filmed appearance together; the occasional marriage of visuals to music. One riveting three minutes comes when the talking heads tune out, a 78-rpm disk of Louis Armstrong's "West End Blues" is set spinning, and the thrilling notes pour out on a carousel of visual imagery—finally freeze-framing on the face of the young genius himself.On the downside, the series is massively repetitious. As a result of Burns's decision to track two major figures—Louis Armstrong and Duke Ellington—from cradle to grave, the same cuts of Armstrong appear again and again, no matter what the time frame. Some of the series' commentators are particularly annoying—the fiddler of Burns's Civil War series, Matt Glaser, for instance, with his fatuous theories [End Page 157] about Louis Armstrong and Albert Einstein. And the documentary's heavy load of social freight—by Wynton Marsalis, and his mentors Albert Murray and Stanley Crouch 3 —threatens to flatten the music.The series is designed as informative entertainment, not Jazz 101. But Burns pays a price here, as he did in his documentary about baseball, in which not even the basics of the game, let alone any of the subtleties, were explained. In "Jazz" we get no explanation of what Jelly Roll Morton did to transform ragtime into jazz. (The series could easily have pressed Morton himself into service. With no sacrifice of his considerable charm, Morton did explain it, beautifully, in his recorded Library of Congress interviews. 4) Although the swing era gets big billing, no attempt is made to explain how swing rhythm actually works, as contrasted with earlier practices. (I have watched swing drummer Panama Francis entertain a packed hall with a brief but riveting illustration of how it works.)As jazz history, the film also has problems. Some legendary figures are resurrected unconvincingly. When Marsalis tells us what the legendary trumpet player Buddy Bolden sounded like, the illustrative off-camera trumpet is Marsalis's, not Bolden's, who embedded not one note in a record groove. Further, we face the tiresomely obvious problem of omissions. We hear nothing of Albert Ayler, Keith Jarrett, Sun Ra, Mildred Bailey, Benny Carter, Lennie Tristano, Erroll Garner, Eric Dolphy, Art Pepper, or Woody Herman. All we learn about Bill Evans—whose influence on jazz piano was huge—is that Miles Davis hired him even though he was white. Omissions are inevitable, of course. But there is a muted pattern to the exclusions. It was impossible for the series to avoid Benny Goodman, given his central role in the swing era. But white figures are too often either ignored or treated as alienated outsiders. We hear New York Times columnist Margo Jefferson opine that Bix Beiderbecke drank himself to death because he wasn't allowed to play with black musicians. In fact, many of the greatest players—white and black—never played with musicians of their own caliber.Most figures covered in the film are treated either with respect or with reverence. But things get nasty when matters turn to avant-gardists. Thus, Branford Marsalis—Wynton's talented brother—singles out the volcanic pianist Cecil Taylor for a particularly hostile attack. 5 Instead of explaining what Ornette Coleman meant by "free jazz," Albert Murray tells us that jazz is, by definition, free music—and by implication, that Coleman's concept must be fatuous. And Wynton has complained [End Page 158] elsewhere about a jazz avant-garde retreat into what he calls "a... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Carolina Hotchandani 633 Wash That Man Right Out of My Hair Now it happened that Metis was going to have a daughter, and she sat inside Zeus’s head hammering out a helmet and weaving a splendid robe for the coming child. Soon Zeus began to suffer from pounding headaches and cried out in agony. All the gods came running to help him, and skilled Hephaestus grasped his tools and (...) split open his father’s skull. Out sprang Athena, wearing the robe and the helmet, her gray eyes flashing. Thunder roared and the gods stood in awe. —from “Athena,” in D’Aulaire’s Book of Greek Myths, 1962 I’ve never met the doctor who happens to be on call when I go into labor. A sweet-smelling aftershave precedes him into the delivery room. We’re gonna get that baby right out of you, he says, pulling a latex glove over one hand and stretching the opening wide so it snaps back with a loud smack against his wrist. I want those hands nowhere near me. I imagine him coaching little league, tapping his baseball cap to send signals to tiny players in the outfield. He chews gum for the entirety of my labor. After I push with all my might for three and a half hours and the baby has still not moved, he says with a half-wink, Poor thing. You’ll be so sore when this is all over. The baby’s been out of me for a while now, but that man is still inside. I go over what happened again and again, desperate to find the angle through which he exits the scene and stays gone. He sees himself from the outside: a hero who enters the scene in medias res, scenting the room with sweet nectars. He will stop in, introduce himself, smile his neighborly smile, before he sets off on a journey through the hospital. Doors will open, doors to women splayed on beds. Women 634 Carolina Hotchandani writhe; women scream in pain. Some will be monstrous—Scyllas and Charybdises among them. Their wounds will gape. Their wombs will pull against his virile strength. They hold the center of the earth within them; theirs, the blood of the wine-dark sea. Do not waver; do not let their currents steer you. Skate above the dark waters. Wait to come through the door till they quake, till they halve. Stand back till they split in two. Then sew them up, and it’s you, it’s you who’s made them new! Pull that man right out of my head. Let me be Zeus on this hospital bed.... (shrink)

In this essay, the author reflects on a decade’s old essay on baseball and bioethics inspired by a conversation with the late David Thomasma. In a reprise of his earlier paper, Fins worries that modernity has come to baseball with the advent of the pitch clock and that this innovation brings age discrimination to a timeless pastime.

This paper analyzes the ethics of performance-enhancing drugs in professional baseball from the perspective of ethical theories: Kantianism, libertarianism, and utilitarianism. It argues that none of these theories can explain why performance-enhancing drugs should be prohibited. The paper argues that virtue ethics is the best moral framework for understanding the ethical problem of performance-enhancing drugs and why their use should be prohibited.

ABSTRACT‘Sports and politics don’t mix’. This platitude has been a pervasive part of U.S. professional sport culture, but it is vague and most of the versions are untrue since politics have been, and must be, a part of professional sports. Its only plausible meaning is that professional players should not make political statements while they are on-the-job. Players have a constitutional right to make political statements outside the workplace, but this right does not apply in privately owned sport associations. I (...) argue that player political protest has ultimately been moral, not political, in nature and that players’ on-the-job political expression can be justified based on the priority of the moral-legal concept of personhood. I propose player political expression policies that U.S. professional associations should adopt. (shrink)

Almost more than any other sport, baseball has long attracted the interest of writers and intellectuals. Relatively few of them have been philosophers however. Alva Noe, a celebrated philosopher, here proposes to collect and rework his short articles and blog posts (many of which first appeared on npr.org) on baseball into a cohesive and accessible book that tries to tease out its deeper meanings - and to advance a view of what baseball ultimately is all about. A (...) basic theme will run through the book, which is that fundamentally baseball is concerned with questions of responsibility and liability - i.e. who gets credit or blame for a play. It is starting from this fundamental insight that Noe then ranges over diverse topics like the slowness of baseball and the virtues of boredom, why fans write down box scores, the meaning of the no-hitter, television replays, the aesthetics of ballparks, how we learn to 'see' baseball like we learn to look at art, the ethics of performance enhancing drugs, the nature of fandom, and reflections on rules and umpires. Noe's writing voice is informal and personal, and always puts the details of the sport before the ideas. Ultimately, his essays are part of a larger view of baseball as fundamentally a game about values - and not simply, as some would have it, a numbers game. (shrink)

This paper applies two argumentation schemes, argument from fairness and argument from lack of knowledge (along with other schemes of lesser prominence) to model the reasoning given by Judge McCarthy supporting his decision to divide the proceeds of a homerun baseball in the case of Popov v. Hayashi. Several versions of both schemes are explained and discussed, and then applied to the argumentation given by Judge McCarthy as the basis of the reasoning used to arrive at his decision. The (...) scheme for argument from fairness is shown to be based on a special principle in Perelman’s theory of justice. (shrink)

Among the niftiest arguments for scientific anti-realism is the ‘pessimistic induction’ (also sometimes called ‘the disastrous historical meta-induction’). Although various versions of this argument differ in their details (see, for example, Poincare 1952: 160, Putnam 1978: 25, and Laudan 1981), the argument generally begins by recalling the many scientific theories that posit unobservable entities and that at one time or another were widely accepted. The anti-realist then argues that when these old theories were accepted, the evidence for them was quite (...) persuasive – roughly as compelling as our current evidence is for our best scientific theories positing various unobservable entities. Nevertheless, the anti-realist argues, most of these old theories turned out to be incorrect in the unobservables they posited. Therefore, the anti-realist concludes that with regard to the theories we currently accept, we should believe that probably, most of them are likewise incorrect in the unobservable entities they posit. (This argument appeals to what our best current theories say about unobservables in order to show that the entities posited by some earlier theory are not real. So the argument takes the form of a reductio of the view that the apparent success of some scientific theory justifies our believing in its accuracy regarding unobservables.) Of course, this argument has been criticized on many grounds. Some have argued, for instance, that the scientific theories we currently accept are much better supported than were earlier scientific theories at the time they were accepted. In addition, some have argued that many scientific theories accepted justly in the past were in fact accurate.. (shrink)

In response to the article by Scofield, I consider the that, how, and why of ethics consultation, moral expertise, and the rules of the game. The question still to be engaged is, how does all of this work out for patients and families?

What is happening to America's favorite national pastime? There seems to be something new afoot with baseball stadiums and the audiences who frequent them. A sense of nostalgia characterizes the creation of many new stadiums in the United States, and it accompanies a change in class among the audiences who fill those stadiums. Together, these two aspects are altering a sport that, in the words of cultural historian David Nasaw, traditionally represented a form of social democracy.1 In contrast, (...) class='Hi'>baseball today is transforming itself into a middle- and upper-class pastime for audiences, especially families, willing to spend enormous sums to…. (shrink)

Zusammenfassung Baseball ist in den USA Nationalsport. Das Spiel genießt seit über einhundert Jahren eine institutionelle Sonderstellung. Viele Amerikaner, vom gewöhnlichen Fan bis hin zu Wissenschaftlern und Intellektuellen, pflegen einen innigen emotionalen Zugang zum Baseball. Die folgende Studie zeichnet nach, wie Baseball zu nationaler und kultureller Besonderheit gelangte. In einem langen Prozess verwandelte die amerikanische Gesellschaft Baseball in ein patriotisches Ritual, das die Größe der amerikanischen Nation zum Ausdruck bringt und so der Herstellung und dem Erhalt (...) nationaler Integration dient. Um die emotional geladene Bedeutung des Spiels innerhalb der amerikanischen Kultur zu erfassen, wendet die Studie die Klassifikationstheorie von Emile Dürkheim an, nach der Individuen und Gesellschaften Phänomene besonderer Bedeutung wie etwas Heiliges behandeln. Der Blickwinkel der Studie ist der des außenstehenden Beobachters, der beschreibt, wie sich die amerikanische Gesellschaft durch das Medium Baseball selbst beschreibt. (shrink)

Players of videogames describe their gameplay in the first person, e.g. “I took cover behind a barricade.” Such descriptions of gameplay experiences are commonplace, but also puzzling because players are actually just pushing buttons, not engaging in the activities described by their first-person reports. According to a view defended by Robson and Meskin (2016), which we call the fictional identity view, this puzzle is solved by claiming that the player is fictionally identical with the player character. Hence, on this view, (...) if the player-character fictionally performs an action then, fictionally, the player performs that action. However, we argue that the fictional identity view does not make sense of players' gameplay experiences and their descriptions of them. We develop an alternative account of the relationship between the player and player-character on which the player-character serves as the player's fictional proxy, and argue that this account makes better sense of the nature of videogames as interactive fictions. (shrink)

This paper suggests a way of formalizing the amount of information that can be conveyed to each player along every possible play of an extensive game. The information given to each player i when the play of the game reaches node x is expressed as a subset of the set of terminal nodes. Two definitions are put forward, one expressing the minimum amount of information and the other the maximum amount of information that can be conveyed without violating the constraint (...) represented by the information sets. Our definitions provide intuitive characterizations of such notions as perfect recall, perfect information and simultanetty. (shrink)

David and I were at a conference on Amelia Island in Florida back in 1995. The meeting, sponsored by the University of Florida, was entitled, “Physician-Assisted Death: Implications for Patients, Care Providers, and Society,” a title that seems quaint given the controversy over the right to die engendered by the Schiavo case. But that's a different talk for a different time.

In this note we introduce the notion of K–player additive extension of a symmetric two-player game and prove a result relating the equilibria in mixed strategies in the two games. Then we apply the result to the Borda electoral competition game.

The central question of the Euthyphro is “Is the pious loved by the gods because it is pious, or pious because it is loved?” A baseball analogy explains this to students: “Does the umpire say ‘Out’ because the runner is out, or is the runner out because the umpire says ‘Out’?” The former makes the relevant knowledge public, making Socrates the appropriate secular moral authority, while the latter makes it religious, invoking Euthyphro’s expertise. Foucault’s aphorism that power is knowledge (...) illuminates how the aristocracy stands behind Euthyphro, while Socrates empowers the democracy. An abstract epistemological question has important political consequences. (shrink)

In political economy, the seminal contribution of the Baron–Ferejohn bargaining model constitutes an important milestone for the study of legislative policy making. In this paper, we analyze a particular equilibrium characteristic of this model, equilibrium uniqueness. The Baron–Ferejohn model yields a class of payoff-unique stationary subgame perfect equilibria in which players’ equilibrium strategies are not uniquely determined. We first provide a formal proof of the multiplicity of equilibrium strategies. This also enables us to establish some important properties of SSPE. We (...) then introduce veto players into the original Baron–Ferejohn model. We state the conditions under which the new model has a unique SSPE not only in terms of payoffs but also in terms of players’ equilibrium strategies. (shrink)

This article is an examination of the recent contribution in this journal by Kreider. In that publication he argued against formalist and non-formalist positions concerning our understanding of game-player and game-playing, focusing his discussion around game rules and their relationship to the two key concepts. This led him to produce alternative conceptions of game-player and game-playing, and it is these conceptions tied closely to the idea of commitment, and Kreider’s arguments surrounding them, which are the subject of my article. Following (...) an introduction, I summarize and evaluate Kreider's dissatisfaction with earlier accounts. Then I present and examine key aspects of his proposals for a different understanding of game-players and game-playing. While I remain uncertain about some of his claims, overall my conclusions are characterized more by disagreement with him than by a sense that he has overcome problems previously expressed theories contain. (shrink)

I begin this review with a brief overview of the book itself, followed by a discussion of its pedagogical usefulness as a text in Philosophy of Sport and Philosophy of Religion courses. I then move on to discuss a few points in the book that I take to be especially interesting and/or problematic from a philosophical point of view.

In this note we introduce the notion of K–player additive extension of a symmetric two-player game and prove a result relating the equilibria in mixed strategies in the two games. Then we apply the result to the Borda electoral competition game.

The aim of this study is to examine the relationship between migrating soccer players and the annual ranking of the national teams according to the World Football Elo Rating. The sample includes annual data for 243 countries over the period 1994-2018. Migration is captured with the number of migrating players by country in the ‘big-five’ leagues. The causal relationship between the two variables is examined by using Granger causality test. Four control variables are included: the political regime, per capita income, (...) population and regional soccer confederations. The results shed light on two crucial issues. First, causality mainly goes from national soccer performance to migrating soccer players rather than the other way around. Second, the timing of the two effects is quite different. While those players giving an outstanding performance when their national team is doing well are immediately bought by clubs from more highly ranked leagues (the shop-window effect), it takes at least four years for the additional skills acquired by migrated players to have a positive effect on the national soccer performance (the blending effect). (shrink)