In the Olympic Art Competitions (1912–1948) Pierre de Coubertin expresses his conception of both sport and art as instruments of moral renewal. In this paper, this conception is criticised for failing to appreciate art and sport as necessary manifestations of modernism. The Art Competitions were informed by a traditionalist aesthetic, and thus played a highly conservative role within Olympism. A modernist art about sport, in contrast, would have been a source of critical reflection, potentially protecting the Olympic movement (...) from corrupting exploitation by commercial and nationalistic interests. The conclusion defends the need for Cultural Olympiads, as a source of such critical reflection, that are at once modernist in conception and yet, unlike their current expression, are centrally about sport. (shrink)

Contemporary neo-liberal society is ruled by the market. Davies, Chen and Lentin and Titley show that its objectification and categorization founds a competitive notion of agency that disables subjective construction of self and intersubjective understanding of the world. As the market's rules and norms are set by white patriarchy, its competitive paradigm structurally disadvantages others. Art too is objectified and categorized by neo-liberal institutions, equally embedded in white patriarchal market structures and severely limiting democratic public access to a diverse artistic (...) field, argue hooks, Mercer and Piper. Yet, Piper's artwork shows, art holds emancipatory potential. Defined as transforming experience, its ambiguity provides a structure for constituting agentic subjectivity and intersubjective signification processes, defying objective/objectifying market workings. Photography's specific qualities allow Piper to democratize access to the paradigm she proposes. Her artistic choices may thus found the potential to publicly construct a notion of aesthetic agency as resistance to the neo-liberal market. (shrink)

Competitive courtship and aesthetic judgment/choice : Darwin's model of the arts -- The arts as promoters of social cooperation and cohesion -- Engagement in the arts as ontogenetic self-(trans-)formation -- A cooptation model of the evolution of the human arts : the special role of play behavior -- Technology, and symbolic cognition.

This paper aims to define what competitive perception is. Using Dufrenne's phenomenological analysis of the art spectator's experience, namely the concept of aesthetic perception, I will claim that it is useful to apply this phenomenological approach to the experience of watching sport events. I will argue that the concepts of uncertainty and auto teleology, being two main features in sport competition, are helpful to define competitive perception.

Empirical aesthetics and philosophy of art are often framed as disciplines in conflict with one another. Psychologists working in empirical aesthetics argue that philosophical theories of art reflect the evaluative biases of critics and experts and so fail as objective accounts of artistic practice. Philosophers argue that the causal-psychological explanations appealed to in empirical aesthetics can not account for the role normative conventions play in appreciative judgements, and so fail to differentiate artworks and artistic practices from ordinary (...) artifacts and behaviors. I argue that this putative conflict can be dissolved by paying attention to the productive role shared normative conventions play in our perceptual engagement with works of fine art. I sketch a hierarchical theory derived from a biased competition account of selective attention that can be used to model these cognitive influences in our engagement with artworks. (shrink)

This article presents a fresh perspective on the interplay among visual, verbal, and auditory modalities, positing that these modalities, as semogenic resources, compete to express dynamic meanings. The theoretical paradigm emphasizes that whether a modality or an element within a modality gets or loses semantic status, it will elicit an additional layer of social meaning to depict a comprehensive picture of a story together with an explicit semiotic meaning. The article adopts a qualitative method to analyze the data, which are (...) drawn from The Good Wife and My Roommate is a Gumiho and annotated in ELAN 6.3. It was found that modal competition can shed light on the dynamic meaning-making processes in semiotic and societal orientations. Modal competition may distort space and time of different stories, and reconstruct a different discursive spatio-temporal dimension in the TV world. It can diversify the dynamic orientations from New to Given in visual, verbal, and auditory texts of multimodal discourses to tell stories. Modal competition provides a lens to understand the multidimensional reality and to appreciate the aesthetics of a modern TV series. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Teaching Aesthetics and Aesthetic Teaching:Toward a Deweyan PerspectiveDavid A. Granger (bio)The educational writings of John Dewey continue to be invoked by scholars in education on a regular basis and in relation to a wide variety of issues, from social learning theory and situated cognition to constructivism and whole-language literacy instruction. More recently, this scholarship has begun to expand to include books and essays that look to tie Dewey's (...) aesthetics to his work in education in a substantive way. Notably, this is not something that Dewey attempted himself, since his major work in aesthetics, Art as Experience, was not published until he was seventy-five, and he seemingly had neither the time nor means at that point in his life to develop this link to his satisfaction. In addition, many educators are only familiar with Dewey's more explicitly educational writings, most of which came earlier in his career and tend to speak more of the merits of science than of art. As a result, scholars in education have only recently begun to examine the possible significance of Dewey's aesthetics for the practices of teaching and learning.1It is still the case, however, that writers on Dewey have traditionally focused their critical energies on his expansive claims for "the method of science" as a vehicle for solving numerous educational and social problems, and as the only authentic means of learning about our everyday world. Such critical attention is not, I believe, without warrant; though Dewey's use of "science" was a very loose and liberal one, he was a staunch critic of the positivistic model of science often presumed by these writers. Nonetheless, this critical focus has unfortunately led many writers to dismiss or marginalize the Dewey who, for instance, proclaims in "Art in Education—and Education in Art" that theModern preoccupation with science and with industry based on science has been disastrous; our education has followed the model that [End Page 45] they have set. It has been concerned with intellectual analysis and formularized information.... It is disastrous because it has fixed attention upon competition for control and possession of a fixed environment rather than upon what art can do to create an environment.... It is disastrous because civilization built upon these principles cannot supply the demand of the soul for joy, or freshness of experience; only attention through art to the vivid but transient values of things can effect such refreshment.2As Dewey sees it, science and other forms of knowledge are properly "handmaidens" to art, intellectual tools for enhancing the overall quality and value of human life and activity.3 This means that they are largely subordinate to the direct qualitative meaning of experience. They are, Dewey says, transformed in aesthetic experience in that they are "merged with non-intellectual elements to form an experience worth while as an experience."4 Art objects may well be the most potent and ready source of such enhanced, aesthetic experience, being intentionally created to refine and intensify in certain ways the experience of the perceiver. But they are not, to Dewey's way of thinking, the sole or even principal medium of the aesthetic. Art, he tells us, is best seen more liberally as "a quality that permeates an experience," whereby, in any number of life contexts, the meanings of objects and events become "the matter of a clarified, coherent, and intensified or 'impassioned' experience" (AE, 329, 295). If all of this can be taken to mean that art or the aesthetic, and not science, is paradigmatic of optimal human experience, then current efforts to integrate Dewey's aesthetics with his thinking about education are an important endeavor and one that should bear considerable fruit. Then, too, much of the popular literature in art and aesthetic education, which situates art and the aesthetic squarely within the cognitive domain of experience, is significantly at odds with Dewey's radically holistic and vigorously anti-elitist aesthetics.5Accordingly, this article will explore the idea of aesthetic education—conceived in its broadest sense—using a mainly Deweyan lens. Moreover, it will do so by examining everyday classroom practices as they are informed by the general... (shrink)

According to the Balinese expert, Dr. Anak Agung Mad ´e Djelantik, “no writings about aesthetics specifically as a discipline exist in Bali.”1 The arts are discussed in ancient palm leaf texts, but mainly in connection with religion, spirituality, ceremony, and the like. However, there are famous accounts by expatriate Westerners and anthropologists.2 There have also been collaborations between Balinese and Western scholars.3 In addition, there is a significant literature written in Indonesian by Balinese experts, beginning in the 1970s.4 Considerable (...) experience of the culture is necessary to appreciate the full detail of these analyses and to be able to understand the arts from a Balinese perspective. I attempt neither task in this paper. What I have written is addressed more to the cultural tourist than the anthropologist. Tourists are often captivated by the colorful opulence of Balinese culture and the centrality of art to the daily lives of ordinary Balinese. At the same time, all but the most indifferent or obtuse cannot fail to notice that the Balinese attitude to the arts is sometimes strangely different from our own Western culture. In following sections, I outline what is likely to strike non-Balinese as puzzling or unique in the Balinese attitude to and treatment of the arts. I focus on four areas: the relation between art and religion and between art and community, the competitive aspect of the arts, and the high value placed on novelty, innovation, and adaptation. I begin, though, by discussing notions that are foundational in Balinese aesthetics. (shrink)

What is aesthetic appreciation? What values is it concerned with? This dissertation consists of three distinct papers tackling problems related to these questions. Chapter One According to what I call the Merit Principle, roughly, works of art that attempt to elicit unmerited responses fail on their own terms and are thereby aesthetically flawed. In the first chapter, I show how the principle leads to paradox when applied to an undertheorized class of artworks I call “seductive artworks”, which invite an unmerited (...) first-order response in order to invite a repudiation of that response. I consider a number of unsuccessful solutions to the paradox, before rejecting the Merit Principle as it stands. I conclude by briefly discussing what is challenging about seductive artworks and by proposing a revision to the Merit Principle. Chapter Two Generally, we cooperate imaginatively with literary fictions, however bizarre, and the things authors write into their stories become true in the fiction. But for some claims, such as moral falsehoods, this seems not to be straightforwardly the case, which raises the question: Why not? The puzzles such cases raise are sometimes grouped under the heading “imaginative resistance”. In this paper, I argue against what I take to be the best attempts to dismiss the puzzles and solve them. I also tease out subtleties not sufficiently addressed in the existing literature and end by defending a unified solution of my own. The solution’s novelty lies in its giving a normative rather than psychological or alethic explanation for the puzzling phenomena. Chapter Three The third chapter looks at the tenability of understanding our engagement with sport along the lines of our engagement with works of fiction. Specifically, it addresses an incongruity in our attitudes towards the outcomes of competitive games and asks why these outcomes frequently prompt intense reactions, while often also seeming utterly trivial. I show why the temptation to understand our engagement with sport as akin to our engagement with works of fiction—as involving games of make-believe—faces serious theoretical obstacles. I end by exploring two alternative possibilities to the proposal. (shrink)

In 1974, David Best rightly contrasted purposive sports (exemplified by most sports) with aesthetic sports; and recently I was careful to exempt the issues for aesthetic sports from my critique of the prospects for an all-embracing philosophy of officiating. While discretion plays a part in umpiring or refereeing in both kinds of sports, it is especially important for aesthetic sports (such as gymnastic vaulting, ice-skating or diving), where the manner of execution determines victory. Here, it is urged that the issue (...) of objectivity for judgements in aesthetic sports is not the most crucial aspect: we have reason to expect correct accounts from knowledgeable, sensitive and experienced judges or umpires. Impartiality remains a concern, of course, not least between the training for judges or umpires might tend to favour particular styles of performing key movements. So that many past rule-changes are explained as attempts to improve fairness, with competitors getting their ‘just deserts’. In doing so, they have implicitly contributed to what is then valued in the manner of execution in aesthetic sports. The term ‘aesthetic’ is generally applied in its positive valence, although one must recognize the negative valence also. But, for aesthetic sports, the rules provide guidance as to what will or will not be regarded positively in the context of competition. And rule-changes here will sometimes be best explained as attempting to modify what is rewarded in such sports, the manner of performance. Such changes might be expected to bear on the character of the sport (here exemplified through men’s ice-skating). (shrink)

Previous chapter During the 1900s and the 1910s, rhythm became the subject of fierce debate between the German and Austrian schools of art history. Georg Vasold has made a useful presentation of this controversy. Beyond the academic and national competition, it first involved two opposite conceptions of aesthetics: the first based on corporal experience, mobile vision, and time; the second on optic perception, distant sight, and space. It also opposed two views on economic, social, - Esthétique – Nouvel article.

In lieu of an abstract, here is a brief excerpt of the content:Toward the Materiality of Aesthetic ExperiencePeter de Bolla (bio)Over the last twenty years or so it has become a commonplace in discussions of "aesthetics" or of "art" in the most general sense to note that the term "aesthetics" was only very recently invented by Alexander Baumgarten in 1735, where it appears in his Meditationes philosophicae de nonnullis ad poema pertinentibus [see Menke 40; Dickie; Eagleton]. But the (...) force of this observation in regard to the relative youth of the concept is rarely, if ever, commented upon. As many philosophers and critics have pointed out, Baumgarten's use of the term was not primarily angled at what today might be unproblematically called "artworks"—say, paintings in the European grand master tradition—since his new kind of investigation was to be a "science of sensual recognition," that is, a general inquiry into how we come to know the world from the evidence of our senses. But, as is also frequently remarked, early on in the tradition of speculation now associated with "aesthetics as the study of art" the mutual attraction (to put it in the most anodyne terms) of "art" and "aesthetics" seems to have been extremely strong. As Jonathan Ree remarks, "the real begetter of the philosophical doctrine connecting the arts with the empirical senses—what we might call the aesthetic theory of the arts—was Gotthold Ephraim Lessing" [58]. From this point on (for heuristic purposes it may be identified with the date of publication of Lessing's Laokoon in 1766), artworks, which heretofore had not required a specific branch of inquiry in order for them to make sense or be conceptually grounded as art, are almost universally assumed to require "aesthetic" contemplation or appreciation.1 It is curious, then, that before 1766 such a mode of experiencing artworks had not been felt to be lacking.One might understand this observation both historically and philosophically, and both approaches, it seems to me, are needed. In the case of the first, a number of material effects conspired across mid-eighteenth-century Europe to produce what was in essence the modern art market. These include the legal establishment of copyright, first in England in 1709 but only by the end of the century in France and Germany; the foundation of various institutions whose primary purpose was the promotion and establishment of the fine arts: academies of painting, sculpture, or letters either with or without royal patronage; the public exhibition of paintings (from 1737 in France and 1761 in England); the opening of royal collections to public view (during the second half of the century in London, Paris, Munich, Vienna and Rome); the development of public concerts of secular music (in small scale from the 1670s in England but only becoming fully integrated in fashionable social life by mid-century); the construction of purpose-built concert venues (the Gewandthaus in Leipzig, a former cloth merchant's hall, was remodeled in 1781 in order to accommodate a resident orchestra, in effect becoming the first dedicated concert hall in Europe); the foundation of literary periodicals and review media; the emergence of social spaces and rituals encompassing polite discussion of [End Page 19] literature (coffeehouses, the construction of dedicated library rooms in domestic settings); and the promotion of architecture to a fine art through various societies, competitions, and the public display of architectural drawings in exhibition contexts (the Royal Academy yearly show included both drawings and models). These and other material conditions helped define the fine arts and construct a market in and for them.2 By the 1770s the category of the "fine arts" was well established in Britain, Germany, and France: Charles Batteux's Les beaux arts reduit a un meme principe, first published in France in 1746, was quickly translated into English as The Polite Arts; or, a Dissertation on Poetry,Painting, Musick, Architecture, and Eloquence in 1749 and into German in 1751. By 1771 a four-volume General Theory of the Fine Arts had been published for the German public by J. G. Sulzer.All of this points to the fact that the concept of the "artwork" is subject to both historical and material pressures. Prior to the mid-eighteenth... (shrink)

Karl Marx’s socio-economic analysis of capitalism and the conditions of industrial production are meant to imply the competitive alienation of workers in at least two important senses: Workers are alienated from their tools and materials because under capitalism they generally do not own, develop or cultivate the means of production or market for products themselves; and Workers are alienated from one another in competitive isolation prior to the evolution of assembly-line production in the classical progression of capitalist manufacturing. The present (...) essay develops two main aspects of the art of alienation in this characteristically Marxist aesthetic – directly influenced by Marx, as opposed to existential or atheistic among other kinds of alienation. Focus is placed on Marx’s PhD dissertation and Philosophical and Economic Manuscripts of 1844, as a reflection of the state of social life, philosophical perspectives on the human condition, in a time of mechanization, consumerism and godless materialism. The history of artistic developments offers independent confirmation of Marx’s thematization of alienation objectifying itself as a sign of the times in artistic production and aesthetic theory. (shrink)

In this article, I first address the ethical considerations about football and show that a meritocratic-fairness view of sports fails to capture the phenomenon of football. Fairness of result is not at centre stage in football. Football is about the drama, about the tension and the emotions it provokes. This moves us to the realm of aesthetics. I reject the idea of the aesthetics of football as the disinterested aesthetic appreciation, which traditionally has been deemed central to (...) class='Hi'>aesthetics. Instead, I argue that we should try and develop an agon aesthetics where our aesthetic appreciation is understood as involving and being embedded in our engagement in the game. The drama of football is staged but not scripted. The aesthetics of competitions like football matches—the agon aesthetics—lies in engaging in the conflict that a competition is, while being aware that the conflict is not over ordinary world or everyday life issues, but unnecessary and invented for the very purpose of having a conflict to enjoy. (shrink)

As kendo continues to gain in international popularity, there are hopes for its adoption in the Olympic Games as an international competitive event, even while moves to further this aim have not necessarily occurred in Japan or elsewhere. One reason for the efforts to achieve a form of globalization of kendo different from Judo is the attempt to adhere to and preserve the unique concepts kendo, the sport embodies by remaining true to the forms of traditional Japanese culture. This is (...) epitomized by the importance given to zanshin (the combination of posture and fighting spirit after striking), one of the key concepts that constitute yuko-datotsu in kendo. Our purpose in this study is to discuss the intersubjective nature of the decisions regarding the conditions for point-scoring in competitive sports. In particular, we will focus on the aesthetics required for zanshin in kendo, focusing on the theory behind yuko-datotsu (point score), which will also considerably influence its international dissemination. Kendo is characterized from the perspective of western rationalism as an appreciation of form and rules of behavior referred to as formalism and, in this respect, it has unique characteristics differing from those of modern sports that are disseminated internationally. In martial arts, besides refinement and proficiency in the rules of behavior by rigidly adhering to form and rules of behavior and repetition, the aim is to transcend said form and the rules of behavior and embody the spiritual nature dwelling in the background. Kendo should remain traditional path and keep zanshin in the value of point (yuko-datotsu) for its virtue. Kendo has not yet developed into an international competitive sport, but it is in the process of traversing that Geido path as a Do for the purpose of character building through it. Throughout life, one should try to devote oneself to kendo with thought for the value of transcending form and the rules of behaviour, and embodying the spiritual nature of the sport that inheres in its background. That is why one may perceive an evident hesitation or indeed negativity regarding the possible internationalization or development as an Olympic event. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Salonnières and the Philosophes in Old Regime France: The Authority of Aesthetic Judgment*Jolanta T. PekaczDuring the eighteenth century a significant shift occurred in the perception of the authority of aesthetic judgment in France, from a group usually referred to as “polite society” and widely considered the exclusive source of taste (goût) to various competing groups arrogating to themselves the right to judge artistic matters. 1 In the present (...) article I discuss the changing recognition of the genders as arbiters of taste, exemplified by Parisian salonnières on the one hand, and the philosophes on the other, during two eighteenth-century quarrels over the French and Italian operas: the Querelle des Bouffons in the 1750s and the controversy between Gluckistes and Piccinistes in the 1770s. I argue that by the end of the 1770s, as a result of the collapse of the old paradigm of “polite society” of which salons were a part, Parisian salon women lost the position (however illusory it might have been) which they enjoyed in the seventeenth century as arbiters of taste. While the philosophes attended feminine salons, [End Page 277] they rejected the idea of consulting salonnières on the matters of taste (and on other matters), as was previously the case, and relegated them to formal, if not merely decorative, roles of guardians of good manners and propriety, the roles accepted by salonnières.The ousting of the salonnière from aesthetic arbitration exemplified by the two operatic quarrels may be viewed as a continuation of the process of exclusion of salon women from discursive development that began in the seventeenth century, as discussed by Erica Harth in Cartesian Women: Versions and Subversions of Rational Discourse in the Old Regime (1992) and, most recently, by Joan DeJean in Ancients against Moderns: Culture Wars and the Making of a Fin de Siècle (1997). In the seventeenth century the norms of feminine bienséance (decorum, propriety) allowed a woman to establish a salon but made it impossible for a salonnière to create a space intellectually comparable to that of the French Academy. After having lost a gendered competition for intellectual space with the Academy by the 1680s, the salon, as Erica Harth put it, “proved a discursive dead end for women.”In this essay I carry through this argument into the eighteenth century and demonstrate that salon women lost a competition with the philosophes not only in the intellectual but also in the aesthetic sphere. Salonnières did not choose not to make aesthetic judgments out of respect for the exclusive right of the philosophes to make such judgments 2 but rather were silenced by the philosophes and complied in order not to violate the limits of feminine bienséance in the public sphere, that is, to survive as salonnières. The seventeenth-century ideals of feminine bienséance taken over by eighteenth-century salonnières were no longer perceived as sufficient (or legitimate) to recognize women as arbiters of taste. In fact these ideals proved to be as detrimental as a source of authority for salon women in the siècle des lumières as they were ambiguous in the grand siècle.Ironically, not only were the eighteenth-century Parisian salonnières ousted from aesthetic arbitration, but neither did they succeed in their roles as guardians of propriety and good manners for the philosophes, that is, in keeping the Enlightenment discourse civil. In both operatic quarrels the dominant genre of discourse was a pamphlet, a libelle, not a salon conversation. While during the Querelle des Bouffons the philosophes were unanimously pro-Italian, the Gluck-Piccini quarrel caused a deep split among them, followed by fratricidal fighting, which seriously undermined their authority in public matters.I. The negative connotation associated with the epithets pedant, savant, and their derivatives in seventeenth-century French treatises on honnêteté indicates [End Page 278] that the authority of judgment of “persons of quality” in matters of taste resulted from the code of bienséances in social relations. Blaise Pascal probably best summarized arguments for the superiority of an honnête person (as opposed to a professional) in the realm of aesthetics; being an... (shrink)

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

In Ancient Greece, the figure of the hero was identified as a demigod, possessed of altruistic and virtuous deeds. When Pierre de Coubertin reinstated the Olympic Games, the athlete was personified as a modern hero. Its antithesis, the anti-hero, has more virtue that defects, no evil but he does not care on the means to achieve his goals. In the eyes of everyone involved in sports competition, these characters captivate and at the same time, create conflicts of ethics and (...) class='Hi'>aesthetics. The purpose of this paper is to perform an ethical reflection linked to principles that contribute for the human growth and accomplishment, as well as the aesthetic on the perception of the sensitive, reverberated by sensations and feelings emerging from athletes. Connecting the ethic with the aesthetic spheres, we could have in the sports a phenomenon walking toward a common point between moral and aesthetic, between the good and the beauty. (shrink)

In this paper, the future of bullfighting in France not long to break the moral value and aesthetic experience in disputes arising from conduct analysis to facilitate thinking about aesthetic experience and the relationship between animal existence. This paper is seeking to explore, and not in the evaluation of an article or opinion on a work conflict, but conflict involved to judge the value of multiple values. Guardian of moral values ​​and oppose bullfighting events, the main slogan is to respect (...) life, refused pain; and aesthetic value of the defenders, usually held in the name of safeguarding cultural heritage and maintain the aesthetic quality of performance. Evaluation criteria of the dispute and defend the value caused by the conflict is not the same evaluation criteria dispute is business volume, but as long as both parties agree, you can also stop the dispute; but to defend the value caused by the conflict is poured out not In order, because the two sides都that the other side The defense held the right of speech is not. This will work for contemporary art in the use of animals in vivo action conducted research to explore the contemporary art of the new research topics implied by the reach of the arts domain and the domain of U.S. academic issues. Contemporary art in the works use living animals move, going beyond In order to both logic system recognized by the precinct, including the U.S. academic field naturalist館exhibition science precinct, ethics and moral of the bounded domain, the legal precinct, and so on. The definition of contemporary art across borders is an important factor in the definition. This paper will examine the Huang Yong Ping's "World Theatre" Case, this was originally a huge cultural center complete degree 1994's "beyond boundaries" arranged by one of the works on display, but In several animal protection requirements under the Joint Association was eventually canceled. Case in other article, is the author of contemporary art in the study of the U.S. boycott of the case made ​​by the observation results. These different Case studies - is currently on-going research work - at least lead to two problems: artists at work using live or dead animals, whether in what form cross In order moral bounded domain and / or the U.S. academic Domain? Also, from one precinct to another precinct of the transition, the leap of variables that? Description of the future, after all, this issue of intense controversy, is originated from the West, so that this issue regardless of whether the problem is the West competition, but more is not Chinese or Asian issues of concern? Based on various conflicts of evaluation , this study of the relationship between aesthetic experience and animality evidences the existence of value registers, above the very values ​​such as beauty or sensitiveness. Aesthetic register is used by the supporters of a work in the name of cultural traditions or artistic quality, while ethical register is used by its opponents in the name of respect for living beings or of refusal to inflict sufferings. Whereas value conflicts allow discussions that may end up with an agreement, value registers conflicts can generate but endless fights, since the arguments of one party are without any relevance for the other party. Out of various case studies, mostly in France and in the USA, two questions arise. First, what kinds of moral and / or aesthetic boundaries are transgressed by the use of animals "living or even dead" in artistic proposals? Second, how do these transgressions change according to different cultures? Do they raise more difficulties in western culture than in Chinese or Asian culture, since the latter provides the propositions which have been most violently attacked in the Western world? (shrink)

Product market competitiveness is positively influenced by the aesthetic value of product form, which is closely related to product complexity. By measuring the cognitive complexity of the product, this research establishes the relationship between the complexity and aesthetics of the product using an artificial neural network. Hence the prediction of product beauty is achieved, which guides design decisions. In this article, the complexity of product form is first measured through a combination of hesitant-fuzzy theory and information axiom. Afterward, the (...) result is weighted by exponential entropy and dimensionally compressed. This method makes data more suitable for the prediction with small samples, obtaining an accuracy improvement of up to 40% compared with traditional approaches. Finally, the importance order of the design elements which affect morphological complexity is acquired. Results show that three of the six complexity features are more significant, impacting the aesthetic feeling of product form. The method increases the attractiveness of products to customers, providing valuable design support for enterprises and designers in the early days when a new product is designed, and reducing research and development risks. (shrink)

This paper contains a consideration of the notion of genius and its significance to the discussion of the aesthetics of sport. We argue that genius can make a positive aes- thetic contribution in both art and sport, just as some have argued that the moral content of a work of art can affect its aesthetic value. A genius is an exceptional inno- vator of successful strategies, where such originality adds aesthetic value. We argue that an original painting can have (...) greater aesthetic value than an exact replica, merely because it is the original. By parity of reasoning, a successful innovation in sport has additional aesthetic value just because it is a new creation. The genius is one who can provide this extra aesthetic pleasure and on that basis is rightly valued. The genius need not be conscious of how they achieve such innovations and thus find their own genius to be something they cannot explain but only demonstrate. In sport, innova- tions that offer new ways of playing or solving problems can produce competitive success which demands instant recognition and rewards. (shrink)

ABSTRACT In this paper, I provide an interpretation of the American mockumentary-styled sitcom, The Office (2005–2013), as an instance of what Nietzsche calls an “aesthetic justification” of life. The Office offers an aesthetic justification of the life of lower-tiered North American white-collar workers under neoliberalism. The Office performs this function via an implicit endorsement of what Mark Fisher (2009) calls capitalist realism, or the idea that “it’s easier to imagine the end of the world than the end of capitalism.” I (...) focus on an illuminating scene in episode 16 of Season 3, “Business School” (2007), that exemplifies this especially well. The argument is that The Office orchestrates an aesthetic justification of those aspects of our existence that cannot be justified morally under capitalism, for example, precarity, ruthless competition, and so on. In Section I, I outline Nietzsche’s conception of aesthetic justification. In Section II, I discuss the major themes of The Office, highlighting their resonance with the concerns and experiences of the workforce. In Section III, I bring these together in a Nietzschean analysis of the “Business School” scene. Finally, in Section IV, I close by offering some open-ended but critical reflections on this analysis via Adorno and the Frankfurt School. (shrink)

In the United States, running as a leisure activity continues to grow in popularity. Healthism can explain some of this popularity, but it does not explain ultradistance running. Motivations for running can be seen through the framework of the Kantian beautiful and the sublime. Beauty arises through extrinsic motivation and relates to an economy of form, while the sublime arises through intrinsic motivation and relates to confronting the challenge of infinity. The commercial, casual, and competitive aspects of distance running correspond (...) to the beautiful, while its wilderness, serious, ultradistance aspects correspond to the sublime. This framework is used to explain the resistance of ultrarunning to the would-be detrimental effects of commodification, as well as ultrarunning’s ‘wild turn.’. (shrink)

This article asks what the graffito incised on the Dipylon oinochoē reveals about the nature of the dance competition that it commemorates. Through a systematic analysis of the evaluative and descriptive meaning of the adjective ἀταλός and its cognates in early Greek epic, it is argued that a narrower definition compared to previous suggestions can be established. The word refers to the carefreeness that is specific to a child or young animal, and its uses typically imply a positive evaluation which (...) is connected not only to the well-being that this carefreeness entails but also to the positive emotion of tenderness and the sentiment of care that it engenders in a perceiver. It is concluded that, when used to specify the criterion by which a dance contest will be adjudicated, the term refers to an aesthetic property that is repeatedly praised in archaic Greek texts in other words: that of dancing with the adorable but short-lived carefree abandon of a child. (shrink)

Ethical questions normally arise in sport because its participants are human moral agents and because its practice community entails the observance of rules and responsibilities that humans generally owe one another in a social practice of voluntary competition. Since nature sports are not defined by this kind of inter-agential activity, it would appear that there are no comparable ethical constraints on their pursuit. This paper considers conflicts of preference versus right between humans, how these are resolved, and whether these rights (...) are relevant in assessment of nature sport activity vis-à-vis nonhuman creatures. Relying on a goods perspective instead of a rights framework, via Korsgaard, I argue against an assumption that human preference is sufficient to override consideration of nonhuman animals’ functional goods. (shrink)

Ethical questions normally arise in sport because its participants are human moral agents and because its practice community entails the observance of rules and responsibilities that humans generally owe one another in a social practice of voluntary competition. Since nature sports are not defined by this kind of inter-agential activity, it would appear that there are no comparable ethical constraints on their pursuit. This paper considers conflicts of preference versus right between humans, how these are resolved, and whether these rights (...) are relevant in assessment of nature sport activity vis-à-vis nonhuman creatures. Relying on a goods perspective instead of a rights framework, via Korsgaard, I argue against an assumption that human preference is sufficient to override consideration of nonhuman animals’ functional goods. (shrink)

Contemporary developed western economies are commonly referred to as ?knowledge-based? economies, which compete through drawing on the innovative and creative capacities of their local populations. Economic policy-makers must invest in and conserve the social, cultural and public resources that underpin dynamic and disruptive competitive activities, namely technological innovation and entrepreneurship, which bring new ideas and products to market. But these resources defy orthodox forms of economic knowledge and quantification. Their trajectories and outcomes are intrinsically uncertain. The paper draws on interviews (...) with experts who advise governments on innovation and competitiveness, to understand what expert strategies are used to deal with this epistemological problem. Such experts must project and retain epistemological authority, but without lapsing too far into quantitative, economistic and bureaucratic forms of reason. The paper identifies three ways in which knowledge of the future can be validated, but without disguising uncertainty: it can be presented as practically useful; as aesthetically appealing; and as hinting at some ?ultimate? form of ontological knowledge. (shrink)

Hannah Arendt’s politics is aesthetic rather than practical, motivated by enjoyment rather than well-being, and so it should be rejected. I begin with an account of aestheticism as the doctrine according to which seemingly non-aesthetic things are actually aesthetic, parts of a whole dimension of reality that we might simply call “the aesthetic.” We access it by taking a disinterested attitude, one that affirms things for their own sakes, and there are four ways of doing this: disinterested appreciating (e.g., of (...) beautiful art), fun playing, fantasizing, and putting on shows or spectacles. While Arendt’s politics takes a classical republican form that is like a competitive game, an analysis of her conceptions of acting and judging reveals that the modes of disinterested showing and appreciating are also present. Her philosophy has another motivation, however, alongside enjoying the aesthetic: the need to escape the reality of evil. (shrink)

Arnstine shows how schools have been distracted from education by reformers urging higher standards - the code word for higher test scores. But education is revealed in the dispositions a person has: sensitivity and resourcefulness, amiability and responsibility, taste, wit, and a disciplined intelligence. This book examines the conditions needed to foster dispositions like these, for they are not acquired by having the young spend more time studying standard academic subjects in preparation for competitive tests. Without recourse to esoteric jargon, (...) Democracy and the Arts of Schooling shows why test scores are less significant than the quality of the experiences students have in school. When that quality is high - when it has the richness and the absorbing character we associate with the aesthetic - then learning takes place. (shrink)

ABSTRACT Professional wrestling is a popular, global, performance phenomenon that is in many respects sport-like, but tends to be shunned by serious sports fans for its alleged ‘fakeness’. Yet its own fans often behave exactly like regular sports fans: getting caught up in the action, responding emotionally to the performances, and engaging in critical analysis of the competitive strategies and the turns of events. How does this alleged ‘fake sport’ engender such complex and deeply emotional appreciation? Here I provide an (...) analysis of pro-wrestling that explains and emphasises its narrative, dramatic and fictional aspects, showing it to be a complex representational work that can be appreciated aesthetically and emotionally on a number of levels. (shrink)

The Tang Dynasty is renowned for its cultural richness and openness to external influences, which significantly impacted the aesthetics of its costume designs, as depicted in contemporary murals. This paper explores the intricate clothing patterns and shapes featured in Tang Dynasty murals, utilizing high-definition microscopic analysis to uncover the profound artistic and symbolic significance embedded within these garments. The study reveals that the clothing patterns are predominantly linear and elongated, with wide cuffs and streamers, while the shapes primarily encompass (...) triangular, rectangular, and oval forms. These elements are executed in a palette of predominantly white, red, blue, and brown, using predominantly lightweight materials like silk, indicative of both aesthetic appeal and functional design. This research delves deeper into the philosophical and religious symbolism of these designs, examining how these ancient motifs influence modern fashion clusters and contribute to contemporary clothing design. The findings suggest that Tang Dynasty apparel exhibits a sophisticated interplay of form and function, enriched with philosophical and religious connotations that resonate with modern design principles. This historical continuity not only deepens the cultural and symbolic dimensions of contemporary fashion but also enhances brand identity and competitive edge in today's global fashion markets. By tracing the lineage of these artistic characteristics from ancient murals to modern clothing collections, this paper highlights the enduring influence of Tang Dynasty aesthetics on modern fashion, suggesting that ancient art forms can provide significant insights into contemporary design practices, especially in the context of enhancing philosophical and religious expressions within the fashion industry. (shrink)

Cross-cultural comparisons can a) illuminate the manner in which cultures differentially highlight, ignore, and group various facets of emotional experience, and b) shed light on our evolved species-typical emotional architecture. In many societies, concern with shame is one of the principal factors regulating social behavior. Three studies conducted in Bengkulu and California explored the nature and experience of shame in two disparate cultures. Study 1, perceived term use frequency, indicated that shame is more prominent in Bengkulu, a collectivistic culture, than (...) in California, an individualistic culture. Study 2, comparing naturally occurring shame events with reports thereof, revealed that shame is associated with guilt-like accounts in California but not in Bengkulu, and subordinance events in Bengkulu but not in California; published reports suggest that the latter pattern is prominent worldwide. Study 3 mapped the semantic domain of shame using a synonym task; again, guilt was prominent in California, subordinance in Bengkulu. Because shame is overshadowed by guilt in individualistic cultures, and because these cultures downplay aversive emotions associated with subordinance, a fuller understanding of shame is best arrived at through the study of collectivistic cultures such as Bengkulu. After reviewing evolutionary theories on the origins and functions of shame, I evaluate these perspectives in light of facets of this emotion evident in Bengkulu and elsewhere. The available data are consistent with the proposition that shame evolved from a rank-related emotion and, while motivating prestige competition, cooperation, and conformity, nevertheless continues to play this role in contemporary humans. (shrink)

Whether it's conkers in the schoolyard, kicking a football in the park, or playing tennis on Wimbledon Centre Court, sport impacts all of our lives. But what is sport and why do we do it? Colin McGinn, renowned philosopher , reflects on our love of sport and explores the value it has for us and the part it plays in a life lived well. Written in the form of a memoir, McGinn discusses many of the sports he has engaged in (...) - from pole-vaulting and gymnastics to windsurfing and tennis - and describes the athletic experience from the inside, as a participant, articulating what is uniquely valuable about sport as an activity. Sport, argues McGinn, takes us to our fullest potential as human beings, it's what we fling at mortality to keep it at bay, a holiday from the Unbearable Heaviness of Being. "Sport" expresses our nature, it bears upon our self-realization. If a happy life consists in one that expresses fully our natural faculties, then sports must play an essential role in our lifes. Mind-body unity, the nature of practical knowledge and physical skill, success and failure, the ethics of competition, peak experiences, the spectacle of professional sport, aesthetics and death, McGinn discusses these and many other issues while telling of his own sporting mishaps and adventures. To use the vernacular of philosophy, "Sport" captures the phenomenology of sport - what it's like to do it - and in doing so shows how sport is a way of expressing and understanding who and what we are, way beyond whether we are a good sportsman, a bad loser or a team-player. For anyone who has ever thought that there must be less humiliating ways to enjoy yourself than being thrashed on the tennis court, "Sport" will reassure you that it's time not wasted. (shrink)

The ontological status of sport: Weiss, P. Records and the man. Schacht, R. L. On Weiss on records, athletic activity, and the athlete. Fraleigh, W. P. On Weiss on records and on the significance of athletic records. Stone, R. E. Assumptions about the nature of movement. Suits, B. The elements of sport. Kretchmar, S. Ontological possibilities: sport as play. Morgan, W. An existential phenomenological analysis of sport as a religious experience. Fraleigh, W. P. The moving "I." Fraleigh, W. P. Some (...) meanings of the human experience of freedom and necessity in sport. Keenan, F. W. The concept of doing.--The ethical status of sport: Keating, J. W. The ethics of competition and its relation to some moral problems in ahtletics. Sadler, W. A., Jr. A contextual approach to an understanding of competition: a response to Keating's philosophy of athletics. Osterhoudt, R. G. On Keating on the competitive motif in athletics and playful activity. Suits, B. The grasshopper: a thesis concerning the moral idea of man. Broekhoff, J. Sport and ethics in the context of culture. Zeigler, E. F. The pragmatic (experimentalistic) ethic as it relates to sport and physical education. Roberts, T. J. and Galasso, P. J. The fiction of morally indifferent acts in sport. Osterhoudt, R. G. The Kantian ethic as a principle of moral conduct in sport and athletics. Thomas, C. E. Do you "wanna" bet: an examination of player betting and the integrity of the sporting event.--The aesthetic status of sport: Kuntz, P. G. The aesthetics of sport. Keenan, F. W. The athletic contest as a "tragic" form of art. Osterhoudt, R. G. An Hegelian interpretation of art, sport, and athletics. (shrink)

Artworks are attentional engines. They are artifacts intentionally designed to direct attention to what we might call their artistically salient features. The artistically salient features of a work are those aspects of their formal-compositional structure that carry information about what they express, their point, purpose, or meaning. These aspects of a work reflect the range of compositional strategies and choices an artist has employed to produce their work. Critically, artists deploy exogenous and endogenous perceptual strategies tailored to direct attention and (...) reveal what they mean to express. Painters, for instance, manipulate the perceptual salience of different areas of the canvas to directly engage perceptual systems, e.g. manipulating contrasts in the tonal properties, hue value, or scale of spatial frequency information. However, shared art critical knowledge can also be exploited to indirectly engage endogenous attentional processes, shape perception, and guide a consumer’s understanding of what is expressed in a work. The range of exogenous and endogenous perceptual strategies an artist employs shape what an artifact affords a consumer as an artwork. Access to these affordances depends upon the structure of the works, the structure of perceptual systems, and an understanding of the broad range of art critical and cultural practices that define the artworld for a community at a time. In this chapter I will employ a diagnostic recognition framework and a biased competition theory of selective attention to develop a model for understanding the way artists exploit exogenous and endogenous perceptual strategies in their works and map the complex environment of an artwork. (shrink)

Dans les nations industrialisées, les goûts des individus sont désormais employés à doper la consommation. L'industrialisation de la jouissance privilégie le superflu au nécessaire, la sensibilité à la raison, la séduction à la faculté de juger. Pourtant, avec l'exploitation du goût, le capitalisme est loin d'avoir découvert une terre inconnue. A l'âge classique, la noblesse de cour cultivait un style de vie commandé par les loisirs et le goût, tout en faisant du bon goût un critère de distinction et de (...) promotion individuelle. Ces relations de compétition entre courtisans ont-elles été les premières notes en prélude au libéralisme? Si l'improductivité, au sens économique, a pu constituer une valeur fondatrice du goût, comment l'industrie a-t-elle pu transformer le goût en moteur économique de la consommation? Le devenir esthétique du capitalisme repose sur la captation et la conversion de ce qu'il aurait de plus individuel en valeurs mesurables, échangeables et massifiables, susceptibles de coloniser les moindres recoins de l'existence et de al culture. L'ouvrage montre que les enjeux du capitalisme esthétique excèdent le territoire angélique des agréments : les batailles esthétiques sont au cœur d'une guerre économique pour le contrôle des émotions et des affections. (shrink)

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

The purpose of this paper is to introduce an exceptional document preserved at the Louvre Museum under the mark MAO 2098. The manuscript is a calligraphic genealogical scroll relating to the Ḫwāğas, members of a Sufi Naqšbandi lineage of East Turkestan which was extremely powerful during the 17th and the 18th centuries. Striving to join the dots literally as well as figuratively, I propose to read the šağara in several different ways. Most obviously, the text provides some limited new information (...) on members of the Āfāqi branch of the Ḫwāğa family. At the same time, we can read the text as a communicative device serving to advance two intertwined social practices: family strategies and the construction of power. Produced within a forum of competition with other aristocratic households, prestigious Sufi lineages in particular, the scroll serves to highlight both the Šarīfian origin of the family and the hereditary succession of its spiritual leaders. At the same time, the manuscript’s remarkable aesthetic qualities served to impress upon those who saw in it the numinous force of the Ḫwāğas’ supernatural authority. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Editor’s NoteJessica HeybachThis issue of education and culture offers readers theoretical in-sights and clarifications to social dilemmas as well as the concerns of the classroom. The authors contained in this issue take up questions of political literacy, moral judgment, the mathematics curriculum and classroom, and the social studies curriculum and classroom. If I had to offer a throughline within these articles, it is the pragmatist conception of judgment that (...) should be cultivated through social relations and classroom practices. These authors are concerned with citizens’ capacity for intelligent judgment within communities and society at large. Pushing back against prevailing logics, these authors offer corrective arguments by positioning Dewey’s thought and pragmatism in contrast to the current logics operating in classrooms and society.Charles Lowery takes up the consequences of modern society’s “conflation of an associated way of living with government, and government with politics, and politics with partisanship” on conceptions of community in his article, “The Role of Education in The Public and Its Problems: A Deweyan Perspective on Political Literacy.” Building on key authors that have previously advanced this line of inquiry central to Dewey’s The Public and Its Problems, Lowery attends to how contemporary education and the development of a politically literate citizenry through democratic habits rather than knowledge accumulation should be centered as the central task of schooling. Lowery highlights current obstacles to cultivating political literacy in the schools such as dogma, disinformation, divisiveness, and de-democratization, and concludes by underscoring the work of school leaders as central to the task of political literacy.Davin Carr-Chellman puts forth a provocative argument which attends to the consequences of instrumental rationality and identity thinking on moral judgment in his article, “Education for Moral Judgment: Situational Creativity and Dewey’s Aesthetics.” Drawing from critical theory, Carr-Chellman emphasizes how dehumanization, moral indifference, and alienation are byproducts of instrumental rationality, measurability, and identity thinking. He then engages Dewey’s aesthetics and Joas’s concept of situational creativity as possible resources to reconstruct human experience and renew the human capacity for moral judgment. According to Carr-Chellman, small acts of creativity and relationship-building become essential to resisting human relations that have become “abstract, impersonal, vague, and competitive.” Thus, an education for moral judgment must humanize through authentic relationships and meaning-making learning opportunities that resist the alienation now culturally rampant. [End Page 1]Marshall Gordon argues that mathematics curriculum and classroom should be understood as a site for developing habits of mind that foster democracy in his article, “Teaching Mathematics with Democracy in Mind.” Gordon elaborates on the problematic persistence of abstracted, procedural mathematics which valorizes memorization and calls for mathematics to capitalize on the unrealized democratic potentials in the mathematics classroom. Drawing on Dewey’s claim in Democracy and Education that “Education is not an affair of ‘telling’ and being told, but an active and constructive process,” Gordon describes a mathematics for democracy. Gordon describes mathematics as a powerful force in the development of students’ reflective intelligence and their capacity for problem-solving by problem-clarifying strategies rather than problem-solving procedures (for example, “take things apart, make the problem simpler, reason by analogy, and tinker”) and collaboration through “multiple-centers” which capitalizes on shared-interest investigations.Dave Powell explores the relationship between inquiry and Dewey’s pragmatic epistemology to advance democratic citizenship education in the social studies classroom in his article, “Has Anybody Here Seen My Old Friend John? Making the Case for a More Pragmatic Social Studies.” In particular, Powell attends to educators’ stance on truth and how “reframing their epistemological orientations” opens up possibilities for different future actions. He begins by describing how pragmatist thinking and Dewey’s philosophical commitments of child-centeredness could shape conceptions of inquiry and allow a reflective practitioner to ask different kinds of questions associated with social studies. Through a rich discussion of what Deweyan thought makes possible in social studies, Powell advances the promise of a citizenry able to think pragmatically in a democracy. He argues that social studies can reject fixed notions of truth, foster trust among students as they exchange ideas, reject opportunities for reverse indoctrination, and cultivate intelligence, as practical... (shrink)

In the context of the current discussion about the ethical boundaries of humor, the study attempts to show that an approach based on Mukařovský’s functional theory is not only applicable to the discussion but also competitive. In the first part of the article, the author tries to answer the question of inserting a joke into the field of functions. He understands a joke as a sign that has in its most typical version a dominant f ictive-communicative function. It is precisely (...) in the dominance of the fictive-communicative function of the joke that he sees the reason for the borderline position of the joke between art and life. The fictiveness of jokes creates, on the one hand, the impression that they have as fictitious statements greater independence from nonaesthetic norms, similar to what works of art have. On the other hand, because of the communicative moment jokes have more potential to offend us than do artifacts with a dominant aesthetic function. The second part of the study is dedicated to the relationship between the joke and the listener and attempts to describe other forms in which the semantic energy of the joke can reveal itself. (shrink)

This collection of John Mackie's papers on personal identity and topics in moral and political philosophy, some of which have not previously been published, deal with such issues as: multiple personality; the transcendental "I"; responsibility and language; aesthetic judgements; Sidgwick's pessimism; act-utiliarianism; right-based moral theories; cooperation, competition, and moral philosophy; universalization; rights, utility, and external costs; norms and dilemmas; Parfit's population paradox; and the combination of partially-ordered preferences.

According to Ibn Khaldūn, man is a social entity deeply influenced by the geo-economics-politics of the environment in which he lives. The effect is seen as so strong that nearly all of these structures in their relationship to human beings are dominated by it. In this system, we see human beings as a creature who is both able to adapt himself to the environment and able to evolve in this harmony. From the perspective of Ibn Khaldūn, man cannot be evaluated (...) or defined separately from the environmental conditions, the technique and architecture he has developed. Ibn Khaldūn sees the primary source of this change to be the desire to make life both more prosperous and bearable. Therefore, the most natural motivations that affect man’s desire to alter the natural world are the environmental challenges that he encounters. The challenges that are imposed upon man in the natural world are those that have led to human progress. From badāwa (nomadic society) to ḥaḍāra (sedentary society) and so to the ceaseless drive of human progress that has served to make life more endurable, every effort in this sense leads to a physical and moral loosening as the incessant struggle to survive that defines human existence is made more bearable. Physical slack by breaking the resistance of man to resist the environmental conditions; and moral looseness by making man more vulnerable to the temptation of desires, pleasures and welfare that are the cause of moral dilemmas. Ibn Khaldūn’s moral thought with its social, political, and other fields of application are all contexts that enable an understanding of the devaluation of money-hedonist morality in all ways. This article aims to analyze the social, political and economic dilemmas and challenges that the capitalist, consumption-based money-hedonist morality (obesity, social media addiction, consumption, and moral devaluation in the face of financial, virtual and imagined valuations, etc.) from the perspective of Ibn Khaldūn. Summary: Man is endowed with both good and evil. Ibn Khaldūn notes that man tends to misuse these two orientations with a higher inclination towards evil, and that social conditions have an effect on this. He sees another characteristic of man, that they develop habits; accordingly, man is the child of his habits. Habits are second nature to man and affects all of his perceptions, particularly notions concerning truth. At the same time, human beings are under the constant influence of both habits, culture, and climate and geography; and all of these together affect our ethics, psychology and characteristics. Thus, man is a historical, social being that is changed, transformed and determined by adapting to these cultural, social, political and ecological conditions. The concept of Money-Hedonism is one that we have created by combining the terms monetarism, an economic concept, and hedonism, a concept in moral philosophy; the resulting term we seek to produce essentially translates as the adoration of Money. As is well known, hedonism refers to a philosophy of life that has its origins in the ancient Greek world which sees the purpose of life as one in which the pursuit of pleasure is the highest good. Whereas, Monetarism is an American-based economic view developed by Milton Friedman in 1970, linking all the balance in the economy to the supply and demand of money. According to this, the demand for money is operation, precaution and motives of speculation of individuals the amount of money they want to keep in cash on them. The power of an exchange tool increases with the amount and quality of what it is achievable in its utilization. In this respect, money has been an unprecedented source of power in modern society as a means by which change can be achieved. The increase in the power of money as an effective means as manifesting power has led to a socio-cultural and socio-economic superstructure around this power. In the life of an individual that is part of such a culture and is unable to isolate himself from the economy in which he lives, the values that can be expressed with money are consequently formed. In this structure, since the measure of life is money, money determines the quality of human life and human pleasure to a far greater degree than at any time in history. Thus, those living in this age have developed a new moral philosophy of value formed by the combination of these two concepts (monetarism and hedonism), which we have defined as Money-Hedonism. The money-hedonist individual is one that is in love with money, the joy of having it, the pleasure of using it, who desires it with immeasurable passion and ambition and is willing to use all legitimate and illegitimate methods of obtaining it. The most prominent characteristics of this type of individual is egoism, a desire to possess, hatred and mistrust. Ibn Khaldūn argues that the inhabitants of a city that live a settled life and who are living in the city have become economically prosperous and absorbed by consumption and pleasure, and, consequently morally degenerate as a result of the abuse of their evil nature. As can be understood from Ibn Khaldūn’s explanations, the basic element that determines the transition of people from the badāwi way of life to ḥaḍāri (settled) is the change in the livelihoods and related needs. He perceives this change as progressing from necessity to luxury, and, with this change, ethical concern in the nature of people being replaced by aesthetic care. In this way, since aesthetic concern reveals the dissatisfaction of the human self, man always pursues what is perceived to be better and more beautiful, and therefore he easily tends to any malignancy that may disrupt his religious and worldly peace. The ḥaḍāra community of Ibn Khaldūn versus the badāwa represent a modern society with a much more heterogeneous population, with a significant increase in lifestyle diversity along with urbanization. However, the determinative effect of the relationship with nature or the way in which society engage in economic activities have not changed. While modern people are urbanized, they are also heterogeneously shaped by psycho-social necessities demanded by urbanization. Man has created a new socio-psychological condition that not only affects the socio-economic but the way of forming a relationship through the accelerated development of new communication methods, facilitating access to information, and the opening of new methods of communication field between institutions. While man’s connection to nature has become disconnected, he no longer perceives himself as human being in nature but as a human within the city, the individual urban life and the law define this perception. The rupture from nature has created an inevitable result of alienation to nature as well as the estrangement of man with his own nature. The liberal policies adopted with capitalism have encouraged competition and free entrepreneurship. In the time that Ibn Khaldūn lived, man who created himself with his struggle in the nature brings himself / herself into the economic structure of competition in the modern period. Unlike in more traditional societies of the past, the modern way of life not only expresses itself in our new way of life and moral values, but also by statistical values. The exploitative and mathematical world, which forms the current economic science, shapes the socio-economic and socio-psychological structure of modern man. It is understood that the life brought by luxury renders the dynamic, subjective, disciplined sense of morality dysfunctional by destroying the moral values of man, particularly by reducing their feeling of shame. As a result, while the world of value of money-hedonism is solid, materialistic and cold; man in trying to exist in this world of value carries a flexible, spiritual and emotional nature. As such, human beings are pushed into social anomaly situations such as a constant conflict, dilemma, suicide, insecurity and solitude in this world of value. (shrink)

Modifying a contrast introduced by Dixon, Stephen Mumford distinguishes between ‘partisan’ and ‘purist’ ways of watching sport. Recognising that the extreme partisan and extreme purist positions do not explain the nature of sports spectatorship, Mumford follows Dixon in adopting the idea of moderate partisanship. He outlines three theories of spectatorship designed to address the issue of the relationship between the partisan and the purist ways of viewing sport. The true perception theory regards the moderate fan as able to see the (...) event as it really is, rather than concentrating on an aspect. The mixture theory is the view that ‘the moderate partisan has both partisan and purist perceptions of sport in some mixed way’. The oscillation theory, which Mumford favours, holds that the moderate sports fan switches or oscillates between competitive and aesthetic ways of watching sport... (shrink)

The word ‘sport’ next to Nietzsche’s name may raise eyebrows among many Nietzsche readers. ‘What an odd pairing?’ one may ask. We prefer Nietzsche and arts or something from the domain of the Geist. Sport is embedded in mass culture and Nietzsche detests anything that has to do with masses; fandom, an important part of sport culture, is nothing Nietzsche would look at favourably but call it a manifestation of the herd instinct. Besides, clubs and sports organizations control this sporting (...) culture through political and economic apparatuses. On the other hand, modern sports, far from producing higher types and the overhuman, appeal to the lowest common denominator, the person on the street and all athletes are equal. All of these objections notwithstanding, one may still speak of a sporting spirit that embodies play, ecstasy in the sense of Dionysian, inventiveness, agonism, grand spectacle, festivity, a specific type of aesthetics and a form of askesis of the body, and a specific outlet for enactment of active justice and a Gestalt of power relations. Playfulness and game-making are crucial in sports, and play is key to Nietzsche’s thought. Sport is a form of letting go, losing oneself in the game, and can be construed as a field for Dionysian forces. Agonism, a significant aspect of Nietzsche’s thought, applies to all competitive sports. Furthermore, sport constitutes one of the major types of spectacles in our age. Finally, sport belongs to the regime of the body, a form of askesis, which Nietzsche would have supported as opposed to the ascetic idealism. In what ways do Nietzsche’s ideas on interpretation shed light on sport and its various aspects as listed above? What hermeneutic tools do we have to interpret sport as a field of culture? These were the guiding questions for this essay. (shrink)