In this paper, I discuss phenomenological and logical characteristics of skilled behaviour in sport. The paper comprises two parts. The first describes phenomenological characteristics of skilled behaviour through Timothy Gallwey’s two playing modes and Maurice Merleau-Ponty’s distinction between abstract and concrete movement. The second logical part introduces the concept of intentionality and the distinction Sean Kelly makes between cognitive and motor intentionality. I discuss how this distinction fits the phenomenological characteristics established in the first part of the paper. My argument (...) is that the logical structure of cognitive intentionality fits phenomenological characteristics of abstract movement, whereas the logical structure of motor intentionality fits phenomenological characteristics of concrete movements. (shrink)

A minute ago he’d felt fine, or thought he felt fine, but now the possibility of failure had entered his mind, and the difference between possible failure and inevitable failure felt razor slight.C...

In his recent work, ‘Sport, Aesthetic Experience, and Art as the Ideal Embodied Metaphor’, Tim L. Elcombe explores links between sport and art from a pragmatically informed conception of aesthetic experience. However, Elcombe's work does not highlight the role of the imagination in the interpretation of the aesthetic something Michael Polanyi claims to be the ‘cornerstone of aesthetic theory’. With the backdrop of an increased interest in the aesthetics, phenomenology, and epistemology of sport, this discussion essay seeks to defend the (...) usefulness and value of definitional demarcation debates between sport and art, to use Polanyi’s distinctions among technical, scientific and artistic problems to support the claim that sport is not art, and to offer an account of how sport contributes in its own way to human flourishing and why it is no less valuable experientially than art. (shrink)