This paper explores the relationship between the development of art and sport in the Arabian Peninsula. In particular, it will be argued that both sport and art can be understood in terms of a trajectory from the ‘modern’ to the ‘contemporary’. Modernity and modernism are introduced through an interpretation of Paul Delaunay’s series of paintings ‘The Cardiff Team’ (1912–22) which may be read as an expression of modernity. The content of the paintings documents core elements of European (...) modernist culture, including technology and science, leisure, consumerism and advertising, and crucially (international) sport. Delaunay’s work provides a background from which to reflect upon the development of sport into something like its contemporary form, in early 20th Europe. By drawing on Terry Smith’s analysis of the difference between modern and contemporary art, and applying this to sport, in order to suggest that there is a distinctive contemporary form of sport, the core tensions within both artistic and sporting practices are argued to lie in the movement from a conception of sport as an expression of modernity, where this is conceived as a universal movement, exemplified by Western humanism, towards a conception of sport as something particularised, expressive of local cultures. The promotion of art institutions and sports events within the Arabian Peninsula highlights the resultant tensions between the neo-colonial influence of Western culture and the reinterpretation of that culture, locally, in order to reflect upon and articulate communal identity within the contexts of globalism and transnationalism. (shrink)

The purpose of this paper is to discuss some of the ethical implications and problems in elite sport as it gets closer to the human performance limit. Modern elite sport must be viewed on the background of the idea of systematic progress. The Olympic motto, 'citius, altius, fortius'- faster, higher, stronger-gives a precise concentration of this idea. Modern sport is also influenced by the liberal idea of a free market where actors can perform, compete and (...) be rewarded according to performance. However, one may ask why and how athletes are willing to risk their health and even their life on the free market of sport when they do the extreme: push limits, break records, set new standards, develop new events. This paper discusses what may be the result as sport moves toward the limits of human performance. The ethical focus on the development of the elite sport should not be restricted to the individual athlete, but should also include the various systems that make up elite sport. Other actors, like coaches, leaders, sponsors, medical personnel, service people, etc., are taking part in the same development. One problem in the modern context is that society is divided into different moral sectors. What is accepted in entertainment or art may not be accepted in sport. It is suggested that we should develop a common ethic for all performance-centered activities like music, painting, science and research, acrobatics and stunts, acting, top politics and business. Or one could include all situations and events where people are put under extreme stress and have to perform well, like during expeditions, in idealistic humanitarian work, during hazards, and catastrophes. At the same time, one should not develop a sort of elite ethic. We need a new ethic that defines the ethical tolerance level in elite sport and that also points to some of the possibilities for development of both character and virtues under extreme pressure. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Painting Outside the Lines: Patterns of Creativity in Modern ArtMatthew ZiffPainting Outside the Lines: Patterns of Creativity in Modern Art, by David W. Galenson. Cambridge: Harvard University Press, 2001, 272 pp., $29.95.The relationship between the market value of paintings and the chronological point in an artist's working life when the paintings were produced is the driving mechanism for exploring creativity and innovation in David W. (...) Galenson's book "Painting Outside the Lines: Patterns of Creativity in Modern Art. The working thesis of this book is that Modern artists have worked creatively and innovatively in one of two distinctly different manners. The terminology Galenson uses to describe these distinct ways of working are "finders" and "seekers." Finders are artists like Pablo Picasso, who at age 26, make startling and important innovations with little advance indication that such a burst is about to take place. Seekers are artists like Paul Cezanne, whospend their entire working lives engaged in the pursuit of a singular approach or achievement. The differences between these methodologies are carefully presented through the details of the working lives of a variety of Modern artists. French nineteenth century and early twentieth-century artists and mid-twentieth-century American artists are used as the source data for these comparisons.Early in the book Galenson presents lists of chronological events within the lives of artists and market valuation of their work within this chronology. The dramatic clarity of the relationships presented in this data sets the stage for the detailed information that follows. Factors that in some cases only partly, and in others nearly completely, explain an artist's way of working are offered through biographic information, information about the aesthetic and cultural milieu, and about the economic and educational structures that are predominant during the relevant time in the life of the artist.The relationship between the aesthetic and cultural milieu surrounding an artist and the capacity or inclination of an artist to be innovative is an important aspect of the book's analysis. The scope of the book is limited to Modern artists because of the shift that took place at the outset of Modern art, during the mid 1860s, that brought a strong emphasis on innovation and change for their own sake as an important characteristic within a work of art. This emphasis "created incentives for painters to produce new approaches to art" (p. 111). Prior to the time of Modern art, innovation and change were often unnecessary for an artist to be successful. Modern art introduced the demand that innovation and change be necessary ingredients in art, and therefore the search for innovation became a significant element within the work of many artists. The manner in which this search took place, as presented through the data at hand, reveals how individual artists viewed the need for innovation and change within their own [End Page 123] work. Paul Cezanne, for example, was aware of the impact that his painting was having on the art world, but he insisted that he was not yet finished with discoveries that would reveal the truest expression of his beliefs about aesthetic expression.In the American movement, "Abstract Expressionism," Galenson finds a useful counter example to the art scene in Paris. In the United States, especially during the 1940s and 1950s — the peak years of creative output by Abstract Expressionist artists — the demand for their work was quite low. There were few economically viable outlets for the work of de Kooning, Pollack, Rothko, and the others of this group. Consequently there is a shift in the chronological point at which these artists achieve market value success. Nearly all of these artists receivedrecognition at an older age than the French artists of the late nineteenth and early twentieth centuries.The thesis of the book, that there are two fundamentally different ways of working to produce works of art, is directly applicable to, and useful in, exploring issues of teaching and learning in design education. As a teacher of interior architecture I was interested to follow the details that Galenson presented in support of his analysis of the careers of numerous Modern artists. The methodological differences between seeking and... (shrink)

The aim of this paper was to analyze the relationship between attitudes toward physical activity and participation in water sports events and to recognize the main motives for involvement in these kinds of events. A written paper–pencil diagnostic survey was conducted among 394 participants in two traditional and two modern sports events on water held in Poland to ascertain whether innovative events are needed in society, and whether they cause an increase in interest in physical activity. The research results (...) showed that modern sports events on water did not have any more power to attract physically inactive people than traditional water events, did not produce a greater desire to lead an active lifestyle, and did not encourage people to more regularly practice water sports. Moreover, modern events, compared to traditional events, were only a one-time experience and the people who completed survey often wanted to return to traditional sports events which provided participants with greater positive emotions than a modern event. In the case of socio-demographical variables, there was no statistically significant relationship between gender and choice of modern or traditional event, but older people were more likely to choose a traditional event than younger people; modern water events were an attractive option primarily for young people under 30 years of age, furthermore, modern events more often attracted people who had completed higher education. However, it turned out that a modern event on water often attracted more people who had had no experience in this sport discipline rather than people who chose traditional water events. In a sense, modern events are therefore effective in promoting water sports in Polish society. We also distinguished five main groups of participants: healthy lifestyle managers, lovers of sports emotions, water sports malcontents, water sports enthusiasts, and neutrals to water sports. Additionally, we looked into gender-related motives for participation in modern and traditional water events: social and health-related motives proved to be more important for women and men who participated in modern water events. The research results presented in the article expand on the current state of knowledge about mass participation in sport, the impact of sporting events on the promotion of physical activity, and show the motivation behind participation in modern and traditional water sporting events. (shrink)

The oil-rich nation-states of the Arabian Peninsula are investing large sums in the development of an international sports industry for the region. In an effort to field its own national sports tea...

The aim of the paper is to analyse the geometrical aspects of a series of modern paintings and to show the parallel between them and the development of modern geometry. It starts with El Greco, offering a geometrical explanation of his painting the figures in a prolonged manner. Further the analogy between the impressionist way of creating space and the geometrical idea of Cayley to use projective space as a basis for non-Euclidean geometry is reconstructed. Next the (...) paper describes the parallel between the creation of space in the paintings of Cézanne and Picasso and the concept of space in algebraic topology. In conclusion the paper deals with the analogy between Kandinski's abstract paintings and the set-theoretical foundations of geometry. (shrink)

British art historian Charles Harrison presumes the existence of a patriarchal world with power in the hands of men who dominate the representation of women and femininity. He applauds the ground-breaking work of feminist theorists who have questioned this imbalance of power since the 1970s. He stops short, however, of accepting their claims that all women have been represented by male artists as images of “utter passivity” (p. 4), routinely reduced by the male gaze to the status of exploited sexual (...) objects, or that women’s subjectivity is eroded by the visual treatment they receive at the hands of male artists such as Manet and Picasso. He wants to show that what is depicted in the picture plane by the (typically male) artist and enjoyed by the (typically male) spectator is more nuanced than just a simple privileged understanding between two men. He adds a third (and possibly fourth or more) party to the mix when he significantly redefines and expands our concept of the gaze: “A gaze may also be conceived of as a function of a painting’s represented content” (p. 9). In other words, a gaze may be “addressed outward by a represented figure,” and regardless of who and where, “the assumption conveyed by the term [‘gaze’] is that some differential and usually asymmetrical relation will be at stake in any exchange between one who directs the gaze and another at whom it is directed. In fact, it is just this difference—in age, in sex, in class, in interest, in power —that the operation of the gaze tends to mark” (p. 9). Referring to a woman depicted within the picture plane, he asks us to consider, “What does it feel like to look like this?” (p. 21) in order to entertain our many emotional responses and interpretations. When he adds, “What does it feel like to whom?” the sexual difference of the spectator also clearly comes into play. (shrink)

Zusammenfassung Um Veränderungen im sportlichen Handeln als solche kennzeichnen und analysieren zu können, schlägt das Forschungsprogramm Sport der Medialen Moderne vor, sportliche Phänomene in den Kontext einer Gesellschaftstheorie zu stellen. Der Artikel stellt einen ersten Entwurf dieser Gesellschaftstheorie dar. Anliegen ist es, bestimmte, für die moderne Gesellschaft basale Kategorien herauszustellen. Denn Begriffe bilden die Wirklichkeit nicht unmittelbar ab, sondern Wirklichkeit ist immer vermittelt durch Kategorien, die den Begriffen zu Grunde liegen. Die Herausstellung ermöglicht eine bedingte Bestimmung des Verhältnisses von (...) klassischer Moderne und Postmoderne. Des Weiteren ermöglicht sie einen Vergleich verschiedener empirischer Begriffe. Beides ermöglicht die Analyse von Veränderungen z.B. des Olympismus in der Postmoderne im Vergleich zur klassischen Moderne. (shrink)

Zusammenfassung Der Artikel beschreibt und interpretiert Konturen des gegenwärtigen Spitzensports aus der Perspektive der „Theorie reflexiver Modernisierung“. Mit Hilfe dieser zeitdiagnostisch ausgerichteten Modernisierungstheorie wird nachgezeichnet, dass und wie es im Zuge der Modernisierung des modernen Sports zur nicht-intendierten Selbsttransformation und Selbstgefährdung des Sportsystems kam. Paradigmatisch hierfür wird die selbstverantwortete Dopingproblematik untersucht, da das Dopingproblem entscheidend für die aktuelle Legitimationskrise des organisierten Sports verantwortlich ist. Das Dopingproblem wiederum, so die zentrale These, ist wesentlich dadurch bedingt, dass der Sport der „reflexiven“ (...) Moderne an Basisprinzipien des Sports der „einfachen“ Moderne festhält, allen voran an dessen Natürlichkeitsfiktion. Mit Blick auf die Grenzwertproblematik und das Gendoping sowie in Abgrenzung zu einfach-modernen Lösungsstrategien wird ein Vorschlag für eine reflexiv-moderne Lösung des Dopingproblems skizziert. (shrink)

As professional football stadiums continue to grow in popularity worldwide, fans are able to watch the game in closer proximity, but the design of professional football stadiums to shorten the distance between fans and the playing field also exacerbates the impact of the home advantage on the referee’s decision to call a penalty. Studies have confirmed the existence of the home advantage and found that experienced referees can reduce the impact of this interference, but the neural mechanisms behind this phenomenon (...) have not been adequately investigated. In this study, we designed a soccer referee decision making task based on a home field effect scenario in a real soccer game, and used event-related potentials to compare the decision making and EEG differences between individuals with different experience levels when faced with foul actions under spectator noise interference. The experiments showed that individuals with different experience levels triggered a significant ERN EEG component when performing the penalty decision task under the home field effect factor, suggesting that the interference of the home field effect may lead referees to correct their previous decision-making behavior patterns in the penalty decision and reduce unfavorable calls against the home team. In contrast, referees with officiating experience elicited smaller ERN amplitudes compared to other subjects, suggesting that experience factors may inhibit this tendency to change behavioral patterns. This study suggests that in response to the increasing trend of professional football stadiums, policy makers should place more emphasis on enhancing the experience level of referees in the training of referees to ensure the fairness of the game. (shrink)

The relation between sport and a good life presents a fruitful philosophical challenge and it has been discussed extensively within the philosophy sport literature. This paper will investigate the role of sport in a good life in the philosophical conceptions of Aristotle and Suits. Both authors paid attention to sport and its significance in the context of living well. However, their approaches differ, partly because they emerge in a different historical and cultural context. My aim is (...) to analyse relevant texts of these two authors, presenting their major points, commonalities, and differences. The debate, to a certain extent, highlights instrumental (educational) and autotelic (intrinsic) value of sport. In order to conceptualize properly the role of sport in a good life, we need to take into account both of these aspects. The originality of this contribution can be found in presenting relevant implications of the contrasting positions of Suits and Aristotle to our thinking about modern sport. Finally, I point to the complementarity of their positions and demonstrate their impact on the broader debate concerning good sport and its role in a good life. (shrink)

In contemporary Chinese art the national traditions and modern trends of the art world are especially relevant. Since the 1980s, in the works of a number of authors, interest began to manifest itself in the techniques of silk work, which was characteristic of ancient and medieval painting on scrolls, which was later replaced by more accessible drawings on paper. At the present stage, such painting has reached its heyday and is highly appreciated in the art market. The (...) most famous masters engaged in silk painting are Mu Yilin and Dong Wenzheng. The analysis of their creations allows us to see how the artists discovered the expressive possibilities of this material, including its transparency, refraction, color and tone saturation. The object of attention is the Chinese tradition of painting on silk, and the subject is the features of its development at the beginning of the XXI century on the example of the work of famous artists and the options they take into account in the compositions of techniques, figurative structure and expressive means of the old masters. The purpose of the article is to identify the main themes and artistic means that modern artists use in their silk works, as well as the option of integrating an ethno-cultural component into their work. (shrink)

English-language translation of a major work by French philosopher Eric Alliez, in which he offers a new perspective on critical problems in modern aesthetics.

Following its economic impact and rising popularity, ‘e-sports’ has become a theme within the academic debate on sports. The current discussion revolves around the definitions of sports provided by the philosophy and sociology of sports and how in turn, this can be adapted to e-sports. The premise of this article is the analysis of ‘institutionalisation’, which is claimed to be an element of modern sport. The governance and production aspects of e-sports will be the main focus where the (...) nature of video games with their fractured production process, the lack of a monopolistic international organisation and its relative novelty will be emphasised. Furthermore, the shaky ground on which the term ‘institutionalisation’ stands will be touched on. It will conclude that the current debate on the recognition of e-sports as a sport may experience certain pitfalls if it does not solve the fundamental problems regarding institutionalisation and ignores the production process of video games and e-sports. (shrink)

This book rethinks the discussion of sport as a cinematic subject. Arguing for the vitality of the sports film as distinctively 'modern' genre, the book looks at its innovative potential to capture twentieth- and twenty-first-century sport in all its complexity. Written in an accessible style and illustrated throughout, the book integrates work and ideas from film studies with thinking from sports psychology, philosophy, data theory and ecocriticism. In its detailed analyses of a wide-ranging group of films, the (...) book shows how film, from fictional works to biopics to experimental documentaries, can illuminate individual sporting experience, as well as sport's wider place in modern life. (shrink)

English-language translation of a major work by French philosopher Eric Alliez, in which he offers a new perspective on critical problems in modern aesthetics.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:AngloModern: Painting and Modernity in Britain and the United StatesJane DuranAngloModern: Painting and Modernity in Britain and the United States, by Janet Wolff. Ithaca: Cornell University Press, 2003, 172 pp.AngloModern, Janet Wolff's scintillating attempt to limn the construction of modernity in the visual arts, is more than worth reading for a number of reasons. In this work, she details how modernity positioned itself against a number (...) of strands of development, and then, by a process of exclusion, formulated its own stance. As poststructuralist theory has taught us, the procedures of building an excluded body against a center, when closely examined, frequently tell us more about a rubric or label than we could otherwise have imagined.Wolff is primarily concerned with three areas of exclusion/construction for the turn in the visual arts, painting in particular, that began at the opening of the twentieth century. Toward the beginning of the work, she notes that there was always a continuous realist and figurative genre at work even in modernist circles, but it seldom achieved anything like the recognition that the more typically abstract works we associate with the rise of modernism gained. She associates this area of nonrecognition with the work of women in particular, and these two areas alone — the realist/figurative and any work done by a woman artist — constitute two of her most important foci in AngloModern. In addition, and with some difficulty, since it adds a layer of complication, she is concerned about the exclusion and marginalization of Jewish artists during thisperiod — both in galleries and in thecommentary generated by the art world — although it is clear that many of the major "abstract" works associated with modernism were, in fact, produced by Jewish artists.Wolff is at her best in laying out in precise detail how it is that the culture of the art world throws up nearly insurmountable barriers against those deemed unworthy at a fairly early point in the construction of any new movement. The single strongest chapter in the work may well be the second, "Questions of Discovery: the Art of Kathleen McEnery," in which Wolff shows how various processes of categorization kept the work of this extremely talented woman from receiving anything like the recognition it deserved for a long period of time. Wolff sums up her overall project, and how it will relate to an artist such as McEnery, in her Introduction, when she writes:The story of modern art that is challenged [in her book] is the narrative tracing the development of Western painting from France to the United States, in a lineage more or less running from Manet and Post-Impressionism, by way of Cubism and Surrealism, to Abstract Expressionism. It is a story produced and reinforced by critics, academics, curators, and museum directors.(p. 3)Women artists, for example, were frequently excluded not only becausethey were women, but because they may have tended to engage in painting that was more realist, which itself [End Page 118] became coded as "feminine," and so forth. McEnery's intriguing portraits of the early two decades of the twentieth century were "discovered," as Wolff notes for the l987 inaugural exhibition of the National Museum of Women in the Arts, despite the fact that McEnery had at one point been fairly well-known (pp. 41-42). A woman at work in a figurative tradition, and working in suburban circles far away from the geographical centers of the art world, she was quickly at the mercy of the canonical forces of art historical construction.As we attempt to educate our students about rubrics, social movements, and the relationship of the arts to the political events of an era, we can do little better than to cite, for illustrative purposes, a number of interesting cases, and Wolff does just that. In sharp and incisive prose, she not only investigates McEnery's disappearance from the approved version of the early American modernist scene, but she also examines the construction of the early group displayed at the Whitney, the notion of the "feminine" in the work of Simmel and Benjamin, and, finally, the notion of the "Jewish artist." As her exemplar for the... (shrink)

One measure of the validity of [Joseph] Frank's insight is the extent to which other versions of his ideas appear in other contexts: for if "spatial form" refers to something real, it cannot have escaped notice by other readers. One thinks, for example, of Northrop Frye's description of the critic viewing all the elements of the poem as a simultaneous array before him; or of Gaston Bachelard's evocative descriptions of The Poetics of Space. Or Pound's interest in ideographic script; or (...) the frequent critical association of modern literature with impressionist painting. Or Eliot's poet synthesizing Spinoza, the sound of the typewriter, and the smell of cookery into a unified whole. Or—at the root of it all, perhaps—Poe's insistence on the unified effect of the story or poem.1 All of these instances reflect a more or less casual assumption of the basic premise of Frank's essay. More recently another critic, Frank Kermode, has offered an alternative description of this general problem. In The Romantic Image2 he assesses symbolist poetic theory; here the verbal image , autonomous and autotelic, presumably unites meaning and feeling without intervening reflection or discourse: the "image" so hypostatized seems very close to a "spatial" form, and certainly the suppression of discourse, of reflection generally, follows from the disruption of syntax and narrative that results from the impulse toward "spatial" effects. Provisionally, we might say that Joseph Frank's essay is grounded in an essentially formalist conception of the literary work as artifact, and that the striking features of his argument result from an attempt to assimilate extended works to a theory basically lyric in its orientation: as corollary, we must assume that the modern writers he cites had themselves operationally defined the concept in the course of their writing. · 1. Northrop Frye, "Literary Criticism," in The Aims and Methods of Scholarship in Modern Languages and Literature, ed. James Thorpe , p.65. See also Fables of Identity: Studies in Poetic Mythology , p. 21. Gaston Bachelard, The Poetics of Space, trans. Maria Jolas . Ernest Fenollosa, The Chinese Written Character as a Medium for Poetry, ed. Ezra Pound . T.S. Eliot, "The Metaphysical Poets," Selected Essays , p. 247. Edgar Allan Poe, review of Twice-Told Tales, in Works, 17 vols., ed. James A. Harrison 11: 104-13.· 2. Frank Kermode, The Romantic Image . William Holtz, professor of English at the University of Missouri-Columbia, is currently preparing an edition of an unpublished juvenile manuscript by Charlotte Brontë. (shrink)

This article provides a phenomenological understanding of contemporary sport and its digital game incarnation. The latter is highlighted as, currently, an example par excellence of what Martin Heidegger referred to as Enframing : the essence of modern technology that discloses being only in its availability for consumption. This concept is clarified and compared with a phenomenological comprehension of art and play. Building upon these notions, the physical sport and its digital emulation are compared and contrasted, illustrating how (...) key criteria for play and artwork are met or nullified. Finally, we come to a diagnosis of the sport digital game in its current form, suggesting how it may meet these criteria through acknowledgement and appreciation of its technological basis. (shrink)

The descriptions and examples of unethical behaviors in sport in this book will challenge readers to rethink how they view sport and question whether participating in sport builds character--especially at the youth and amateur levels. * Describes and analyzes key ethical issues, such as cheating, fair play, violence, discriminatory actions, and the use of performance-enhancing drugs, in a single volume * Identifies how ethical problems in sport affect sport in the United States and internationally but (...) also significantly impact society overall * Examines significant events and influential individuals to provide a historical and sociological context for understanding how and why individuals behave unethically in sport * Provides a wealth of information and resources that describe how poor behaviors of athletes, coaches, and parents in sport can be changed through educational interventions and a reemphasis on values like integrity. (shrink)

Contrairement à ce qu’ont affirmé un certain nombre d’historiens et d’historiennes, les femmes ont une place dans l’espace social vénitien aux xve et xvie siècles. Elles appartiennent à l’espace domestique, mais elles sont aussi présentes à l’extérieur, dans les rues et sur les places. Cette étude s’appuie sur des sources picturales pour discuter la présence féminine dans l’espace extérieur et l’espace domestique vénitiens. Peintes par des artistes masculins, elles sont représentées selon des codes bien précis dans l’espace extérieur, souvent à (...) l’image de la Vierge Marie ou d’autres figures saintes. Mais nous verrons également que l’incursion des peintres au sein des case venetiane, qui entraîne une manière plus réaliste de représenter la figure féminine et leur offre une plus grande visibilité, leur permet de gagner une certaine liberté de mouvement, parfois au détriment de leur réputation. (shrink)

Several aspects of human life are pervaded with images and symbols that often belong to what Jung (1981) called archetypes, characteristics of the mind with a profound influence on most aspects of culture and sport. The rationality introduced into our society, as the fruit of both the positivist concept of progress and the rapid development of technology, has, albeit while driving out excessiveness due to irrational explanations and often knavery, also disregarded the importance of images and symbols in everyday (...) life. Yet a number of these inevitably still exist, since they are archetypal. With this observation as a starting point, the present work has been designed to analyse whether it is still possible to find ancient images and symbols in modern sport activities. The a priori reason for such a question arises from the acceptance that modern and ancient sports are profoundly different. This has been historically proved in terms of organisation and quantification, among other characteristics (Guttmann 1978). The present analysis refers to a limited number of images and symbols concerning ancient and modern sport, which include a primordial Ur-symbol, that of bodily action or of body in movement. Others concern various aspects of the athlete's life, such as expression of religious beliefs, immortality, eternal return and the front. It suggests that many of these images and symbols may still be found in contemporary sports, in open contrast with some of the Olympic principles suggested by De Coubertin and chiefly prevalent in the late nineteenth and twentieth centuries. (shrink)

The aesthetic is present everywhere—in the street, in department stores, movie houses, mountainsides, as in the art gallery, the cathedral, the sacred grove. By universalizing the concept of the aesthetic, modern art has destroyed the barrier that once marked off Beauty and the Sublime as separate realms of being. In the eyes of modern art and modernist aesthetics, anything can legitimately appeal to taste. President Eisenhower, complaining about modern art, said that he had been brought up to (...) believe that art was intended to carry one away from the dangers and unpleasantness of everyday life but that the new paintings reminded him of traffic accidents. A recent statement by Francis Bacon, the celebrated British painter, also mentions traffic accidents. Bacon agrees with Ike that this type of event is not excluded by modern art. But Bacon finds traffic accidents to be a source of beauty. "If you see somebody lying on the pavement with the blood streaming from him," he explains in the catalogue of his exhibition at the Metropolitan Museum in spring 1975, "that is in itself—the color of the blood against the pavement—very invigorating . . . exhilarating. . . . In all the motor accidents I've seen, people strewn across the road, the first thing you think of is the strange beauty." Harold Rosenberg is a professor, poet and art critic for the New Yorker. Among his influential works are The Tradition of the New, The Anxious Object, Artworks and Packages, Act and Actor, The De-Definition of Art, Discovering the Present, and Art on the Edge. (shrink)

Question: Where, when and under what circumstances did the two of you get to know each other?Fischer: It was in the early seventies, in Frankfurt, after the dissolution of the gauche proletarienne and while there were still leftist groups in Germany. It must have been 1972. Question: Was that a private visit?Glucksmann: We had private discussions. We also participated in rallies and demonstrations.Question: That was in the late phase of the student movement.Fischer: We kept in contact through my old room-mate, (...) Daniel Cohn-Bendit. He was our link to France, so to speak.Question: And was this the link between the French and the German Left that existed then? (shrink)

Richly illustrated study drawing on art, literature and science to explore Victorian attitudes towards sight.

The rapid uptake of digital technologies is constantly transforming the modern culture of sports spectating; however, relatively little is known about the impact of digitalization on the changing face of global sports-consuming audiences, particularly from a qualitative perspective. In this article, the relationship between modern mass digital technologies and audiences of sports spectators is described and explained by taking a customer-centric approach to grounded theory using a literature review and in-depth qualitative semi-structured interviews with sports marketing, management, and (...) technology professionals. The qualitative approach permits the gathering of in-depth insights into a problem, generates new concepts through data synthesis and analysis, and captures changing attitudes within the sports industry. Moreover, the qualitative approach to research is not bound by the limitations of quantitative methods and focuses on the primary questions of “how” and “why” digital technology’s mass deployment and diffusion have transformed content consumption in the sports industry. The analysis first systematizes and codes the collected data. Second, all the materials are iteratively read and the key points are outlined. Using the iterative analysis, the theoretical and empirical insights and findings are synthesized in order to achieve the results. Finally, dimensions of the transformation of sports spectators’ consumption are identified and explained. The research implications highlight “how” and “why” modern digital technologies have changed the sports-consuming audience by making it more inclusive in terms of age, gender, demographics, social and health status. These findings are useful for sport managers to better understand their audiences and processes in an ever-changing global society. (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)

This article discusses the preponderance of aesthetic aspects within the sport experience, especially as these are reflected in the dialogue between sport and cinema and in relations established via the use of images and the emergence of new ideas of the body at the beginning of the twentieth century. The paper is divided into three parts. The first part identifies points of connection between sport and cinema. The remaining parts interpret the meaning of these connections. The paper (...) concludes that it is important to recognize that sport is not only a theme for art but also a language that establishes inter-semiotic dialogues, something that is deeply characteristic of sport and a source also of its aesthetic meaning. (shrink)