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Sport and Art explores relationship of sport to art. It does not argue that sport is one of the arts, but rather that sport and art hold common ground. Both are ways in which humans confront philosophical challenges, though they do this through very different media. While art deploys sensual media such as paint or sound, sport is the pursuit of a physical challenge at which the athlete may fail. This is to propose, in an argument that has its roots in Hegel’s aesthetics, that sport may be interpreted as a way of reflecting upon metaphysical and normative issues, such as the nature of human freedom, fate and chance, and even our sense of space and time. This argument is developed by proposing the concept of a ‘sportworld’, an ‘atmosphere of theory’ and a ‘knowledge of history’ through which an event is interpreted and thereby constituted as sport. Ultimately, Sport and Art argues that in order to be truly appreciated, sport must be understood within a modernist aesthetics. That is to say that sport is not about beauty, but rather about the struggle to find meaning in sporting triumph and crucially sporting failure. This book was published as a special issue of Sport, Ethics and Philosophy.
The Art of Sport captures moments of action, drama and skill from the world of sport. It gives an all-inclusive taster from the world's sporting circuit, showcasing spectacular, bizarre and stunning images from the world of sport. The book offers a fascinating selection of sports pictures taken by Reuters photographers who have had the vision and ability to see and capture extraordinary sporting moments. This collection comprises a sporting story with many threads: victory and defeat, natural skill, ability and hard work, beauty, strength and courage, joy and crushing disappointment - and offers some of the most clever and beautiful sporting photographs that you will ever see. The Art of Sport sets each photograph in context, outlining the circumstances behind the image: how the photographers came to be there at that moment and how they managed to document them. It showcases the two essential characteristics of the top photojournalis - a nose for a sporting story and an eye for a beautiful photograph.
This BHAA manual accompanies the BHAA qualifications syllabus; both for horseback archers and for coaches.The BHAA is the governing body for horseback archery in the UK.The manual is suited to anyone with an interest in horseback archery; whatever your level of experience. It covers each aspect of the sport: riding, archery, specific techniques and training suggestions for mounted archery, as well as rules and tactics for competition. Including over 100 pages of colour photographs and illustrations; with demonstration of techniques by experts.Step by step instructions on topics from training your horse to making and fine tuning your equipment. Discussion of the mechanics of bows and arrows, and archers' anatomy, explain how to optimise your performance and avoid injury.Articles on the history of horseback archery, plus 27 key horseback archery battles, bring the modern sport into a historic context.
Upon first consideration, sport and art seem to occupy separate, even opposing, realms--sport, associated with physical prowess, and art, with the highest reaches of the human mind. But because sport is such a powerful metaphor for so many human experiences, it has found its way into artistic traditions all over the world. Part One of this book provides a basic understanding of sport as symbol. Part Two gives attention to animals as adversaries and traces the origins of sporting art back to the hunt. Part Three considers humans competing against humans in combat sports, ball games, stick-and-ball games, and racquet sports, as well as in warfare. Part Four concentrates on contesting with oneself in races and sports of grace and beauty such as gymnastics, figure skating and ice dancing. The book concludes with a discussion of the athlete's relationships to society.
Games are a unique art form. They do not just tell stories, nor are they simply conceptual art. They are the art form that works in the medium of agency. Game designers tell us who to be in games and what to care about; they designate the player's in-game abilities and motivations. In other words, designers create alternate agencies, and players submerge themselves in those agencies. Games let us explore alternate forms of agency. The fact that we play games demonstrates something remarkable about the nature of our own agency: we are capable of incredible fluidity with our own motivations and rationality. This volume presents a new theory of games which insists on games' unique value in human life. C. Thi Nguyen argues that games are an integral part of how we become mature, free people. Bridging aesthetics and practical reasoning, he gives an account of the special motivational structure involved in playing games. We can pursue goals, not for their own value, but for the sake of the struggle. Playing games involves a motivational inversion from normal life, and the fact that we can engage in this motivational inversion lets us use games to experience forms of agency we might never have developed on our own. Games, then, are a special medium for communication. They are the technology that allows us to write down and transmit forms of agency. Thus, the body of games forms a "library of agency" which we can use to help develop our freedom and autonomy. Nguyen also presents a new theory of the aesthetics of games. Games sculpt our practical activities, allowing us to experience the beauty of our own actions and reasoning. They are unlike traditional artworks in that they are designed to sculpt activities - and to promote their players' aesthetic appreciation of their own activity.
This book compares two major leisure activities – watching sport and engaging with art. It explores a range of philosophical questions that arise when sport and art are placed side by side: The works of Shakespeare, Rembrandt and Mozart have continued to fill playhouses, galleries and concert halls for centuries since they were created, while our interest in even the most epic sporting contests fades after just a few years, or even a single season. What explains this difference? Sporting contests are merely games. So why do sports fans attach such great importance to whether their team wins or loses? Do sporting contests have meaning in the way works of art do? Beauty is a central value in art. Is it important in sport? What role does morality play in sport and art? What value do sport and art contribute to the world and to the meaning of people’s lives?
A chess match seems as solitary an endeavor as there is in sports: two minds, on their own, in fierce opposition. In contrast, Gary Alan Fine argues that chess is a social duet: two players in silent dialogue who always take each other into account in their play. Surrounding that one-on-one contest is a community life that can be nearly as dramatic and intense as the across-the-board confrontation. Fine has spent years immersed in the communities of amateur and professional chess players, and with Players and Pawns he takes readers deep inside them, revealing a complex, brilliant, feisty world of commitment and conflict. Within their community, chess players find both support and challenges, all amid a shared interest in and love of the long-standing traditions of the game, traditions that help chess players build a communal identity. Full of idiosyncratic characters and dramatic gameplay, Players and Pawns is a celebration of the fascinating world of serious chess.
WHO ARE THEY AND WHY DO THEY DO IT? –these men who dedicate themselves to building bodies like Hellenistic statues; who crisscross the world competing for titles as grandiose yet as publicly uncelebrated (Mr. America, Mr. Universe, Mr. Olympia) as their gargantuan physiques; whose daily lives are as rigidly defined and regulated by their obsession to mold the ideal body as any other master athlete's is towards perfecting his craft. Yet, rather than the public acclaim that normally follows an athletic triumph, only their fellow muscle men know who they are and know the price they have paid to win their incredible bodies. Novelist Charles Gaines and photographer George Butler have spent the last two years trying to capture the essence of this strange, joyful, exotic world: “We have been to quite a few places tracking bodybuilders, seeing contests and putting together the materials here. If we felt at times a little like 19th-century explorers –like Doughty, perhaps, off trekking through Arabia –it was because we found bodybuilding to be as primeval and unmapped as parts of Labrador. Nobody, we discovered, had been back into it to send a report on what it was like. This struck us then as peculiar, and it still does.
From the creator/editor of Who Shot Rock & Roll (“I loved this book” —Dwight Garner, The New York Times. “Whatever Gail Buckland writes, I want to read”), a book that brings together the work of 165 extraordinary photographers, most of their images heralded, most of their names unknown; photographs that capture the essence of athletes’ mastery of mind/body/soul against the odds, doing the impossible, seeming to defy the laws of gravity, the laws of physics, and showing what human will, discipline, drive, and desire look like when suspended in time. The first book to show the range, cultural importance, and aesthetics of sports photography, much of it legendary, all of it powerful. Here, in more than 280 spectacular images—more than 130 in full color—are great action photographs; portraits of athletes, famous and unknown; athletes off the field and behind the scenes; athletes practicing, working out, the daily relentless effort of training and achieving physical perfection. Buckland writes that sports photographers have always been central to the technical advancement of photography, that they have designed longer lenses, faster shutters, motor drives, underwater casings, and remote controls, allowing us to see what we could never see—and hold on to—with the naked eye. Here are photographs by such masters as Henri Cartier-Bresson, Robert Capa, Danny Lyon, Walker Evans, Annie Leibovitz, and 160 more, names not necessarily known to the public but whose photographic work is considered iconic . . . Here are photographs of Willie Mays . . . Carl Lewis . . . Ian Botham . . . Kobe Bryant . . . Magic Johnson . . . Muhammad Ali . . . Serena Williams . . . Bobby Orr . . . Stirling Moss . . . Jesse Owens . . . Mark Spitz . . . Roger Federer . . . Jackie Robinson. Here is the work of the great sports photographers Neil Leifer, Walter Iooss Jr., Bob Martin, Al Bello, Robert Riger, and Heinz Kleutmeier of Sports Illustrated, who was the first to put a camera at the bottom of an Olympic swimming pool and photograph swimmers from below . . . Here are pictures by Charles Hoff, the New York Daily News photographer of the 1930s, 1940s, and 1950s, whose images of the 1936 Berlin Olympics still inspire shock and awe . . . and those of Ernst Haas, whose innovative color pictures of bullfighting of the 1950s remain poetic evocations of a bloody sport . . . To make the selections for Who Shot Sports, Buckland, a former curator of the Royal Photographic Society of Great Britain and Benjamin Menschel Distinguished Visiting Professor at Cooper Union, has drawn upon the work of more than fifty archives, from the Museum of Fine Arts, Houston, to Sports Illustrated, Condé Nast, Getty Images, the National Baseball Hall of Fame, L’Équipe, The New York Times, and the archives of the International Olympic Committee in Lausanne. Here are classic and unknown sports images that capture the uncapturable, that allow us to experience “kinetic beauty,” and that give us the essence and meaning—the transcendent power—of sports.