Stephen Mumford

The voluntary suspension of play is a putative fair play norm that has emerged in the last 20 years in association football, though there is no reason in principle why it is limited to that sport. It occurs in football when an injury appears to have been sustained and another player deliberately puts the ball out of play so that the injury can receive rapid attention. It is widely understood as a positive development within the sport and philosophers have added their support on the basis that VSP is a way of players exercising autonomous moral responsibility. It is represented as a case of athletes putting care for their competitors before care for the contest. In this paper, however, it is argued that moral praise for VSP is misplaced. Attempts to induce a VSP almost always occur when a team is seeking to hold a position within a game. As a delaying tactic, it encourages the faking of injuries, which is all the more reprehensible because it exploits someone else's concern for that apparent injury. Conditions for the possibility of VSP within a sport are analysed as well as conditions for the abuse of VSP. VSP occurs because of a loophole, and ways in which this can be closed are presented. In an appendix, some initial empirical evidence is presented that backs the evaluative claims of the paper

There are many ways that we can watch sport but not all of them are philosophically interesting. One can watch it enthusiastically, casually, fanatically or drunkenly. One might watch only because one has bet on the outcome. Some watch a friend or relative compete and have a narrow focus on one individual's performance. A coach or scout on the lookout for new talent may have completely different interests to a supporter of a team. But what of the ways of watching sport that are of philosophical interest?

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

What is the connection between dispositions and ethics? Some might think very little and those who are interested in dispositions tend to be metaphysicians whose interests are far from value. However, we argue in this paper that dispositions and dispositionality are central to ethics, indeed a precondition. Ethics rests on a number of notions that are either dispositional in nature or involve real dispositions or powers at work. We argue for a dispositional account of value that offers an alternative to the traditional fact-value dichotomy. We explain the place of value within a structure that explains the possibility of ethics. Elsewhere in this structure, we argue that moral responsibility is a precondition for ethics and that it is a dispositional notion depending critically on what Mumford and Anjum have called the dispositional modality. Moral responsibility in turn depends on there being both agency and normativity. We argue that intentionality and agency are preconditions for agency and that value is a precondition of normativity. All these notions are dispositional and make best sense if there are real dispositions or causal powers of agents.

Sport is a producer of both emotional and aesthetic experiences. But how do these relate? Does a spectator’s emotional engagement in sport enhance or hinder it as an aesthetic experience? And does the aesthetic perception of sport enhance or hinder the emotional experiences? These questions will be addressed with particular reference to the distinction that can be drawn between partisan and purist watchers of sport, and making use of thinking in contemporary aesthetics and philosophy of emotion. There are some reasons to think that emotion and aesthetics pull in opposite directions, in both sport and wider life. Does a purist miss out on the essence of sport if they adopt a detached aesthetic attitude? If that were the case, it would suggest that the sports spectator might have to choose between the two: experiencing one or the other but not both at the same time. Emotions and aesthetics would be a trade-off but I argue for some significant exceptions to this conclusion.