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In this article, we address the aporia(s) of the Olympic discourse produced by the troubled split between sport and politics. To start our argument, we will show that sporting governing bodies continuously insist that they are still on the other side of any kind of politics. Guided by Aristotle, who presented the reciprocity of ethics and politics, we will unveil the fallacy of this discourse. In a short genealogy of the relationship between sport, ethics, and politics, we will highlight the Munich Olympics 1936 and Mexico Olympics 1968, where political engagement of sport was exposed clearly. At the same time, the supposed political neutrality of sport manifested an aristocratic preference for radical right regimes. After that, we will analyse the contemporary relation between sport, ethics, and politics in the light of recent developments, including sport’s ambiguous reaction on the Ukraine war. Further argument will be that sport’s in- and external politics, supported by sport ethics and the inherited mantra of the split between sport and politics, is more than just a hypocrisy. At the start, modern sport claims autonomy of governance to keep away from state domination, yet this very autonomy also freezes sport’s ethical core, forbidding athletes, coaches and others active in sport, to express any political engagement, other than passive acceptance of the regulation by governing sport bodies, as the only politics to be respected without deliberation. In the final part an alternative understanding of the dynamics between politics, the political and sport’s ethical core, will be presented to be included in the philosophy of sport and fully developed in following articles.

Cilj istraživanja bio je proučavanje Panekukove delatnosti i tekstova kao izvora obaveštenja o kretanju kroz istoriju revolucionarnog pokreta i marksističke teorije. U ovom članku to je kretanje svedeno na tri raskola: između revizionizma i ortodoksije, između reformizma i revolucije, i između državnog komunizma i komunizma saveta. Time smo ostavili sa strane prvi sukob između anarhizma i Marksa odnosno marksizma, jer su anarhisti prvi isključeni, pa taj raskol Panekuk nije obilato komentirao. Zaključak je da raskol između državnog komunizma i komunizma saveta jeste izgubljena karika podele na zapadni i istočni marksizam koja izvire iz sukoba oko strategije i taktike u komunističkoj Internacionali (1920-1922) sve dok se nije u Levičarstvu – Dečjoj bolesti komunizma učvrstio Lenjinov strateški i taktički pravac protiv svih koji su se protivili parlamentarnoj i sindikalnoj strategiji kao jedinom komunističkom revolucionarnom angažmanu. Panekuk se protivio tom ishodu sav svoj preostali teoretski i aktivistički život. Najvišu moguću tačku razumevanja sa svoje tačke gledišta postigao je u knjigama Lenjin kao filozof (1938) i Radnički saveti (1941-1947). Kada je na kraju uspostavio kontakt sa grupom Socijalizam ili varvarstvo Kornelijusa Kastorijadisa i Kloda Lefora 1953. godine, objasnio je svoje gledište novim generacijama revolucionara i marksističkih teoretičara kroz dopisivanje sa Kornelisuom Kastorijadisom. Konflikt i njegove razorne posledice daleko su od toga da pripadaju prošlosti. U naše vreme, označeno sa raznih strana kao prelazak u postkapitalizam, on se javlja ponovo, ovaj put na globalnoj razini.

Radom se nastoji uspostaviti veza između Kantove etike i etike sporta povezivanjem koncepcije anthropocena, kao suvremene epohe tijekom koje prirodna povijest postaje kulturnom povijesti, s etikom nade, kako je predstavljena u Kantovoj Kritici rasudne snage. Ključan je moment Kantova argumenta da je biranje kulture ispravan put ljudskog razvitka prema civilnom društvu i kozmopolitskom jedinstvu. Je li sport takva kultura? Može li sport postati važan moment u suvremenoj etici nade? Odgovor je uvjetno pozitivan jer postoje određene prepreke. Prvo, jedan je od razloga za to inauguriranje olimpijskog sporta u svrhe održavanja ravnoteže u društvenim sukobima. Da je takvo što ostvarivo sugerira nam da bi hijerarhijski poredak izvrsnosti u sportskom natjecanju osnažio društvenu hijerarhiju. Drugo, sport je jedna od najpopularnijih i najprofitabilnijih globalnih zabava, no njime upravlja aristokratska elita s iznimnim potencijalom za zloupotrebu moći. Treće, globalni organizatori sporta imaju mnogo političke moći skrivene iza olimpijske mantre o isključivanju politike iz sporta.

‘It was a dark and stormy night...’ with these words Edward Bulwer-Lytton began his 1830 novel Paul Clifford. ‘Le 13 décembre 1838, par une soirée pluvieuse et froid’ are the words with which Eugène Sue begins his novel The Mysteries of Paris, its narrative following a ‘conceptual’ introductory address to the reader. There are many more features connecting these two popular literary pieces of the Romantic period. In-between, a new genre emerged – the melodramatic social(ist) novel – together with new means of communication, i.e. the novel feuilleton that was printed in daily newspapers. This subtle form of censorship suggests that a genre believed to be melodramatically mediocre had an excessive aestheticopolitical attractiveness. Eugène Sue was a star writer of nineteenth century bestsellers novels–feuilletons during the period between the two revolutions of 1830 and 1848. Afterwards he practically fell into oblivion and was barely mentioned in the company of ‘serious’ writers like Balzac and Hugo or Dickens and Thackeray, all of whom, however, took his allegedly mediocre melodramatic and popular narratives as cases to be followed. His temporary fame was confirmed by the response of Bruno Bauer’s group of young Hegelians, who found in Sue’s literary attractiveness a philosophical solution for all the mysteries and conflicts of the period. Marx’s criticism of their philosophical and political position in The Sacred Family includes a lengthy and thorough criticism of their ‘philosophical’ readings of the novel, of the novel itself, and of their and Sue’s understanding of the new bourgeois reality. Among other points, Sue’s alleged socialism is described with the help of a comparison between the police and the moral police. Can we, along with a re-establishment of the context of The Mysteries of Paris, leave behind the critique of ideology and the literary critique of popular and mass culture in order to bring back into the aesthetic field this melodramatic narrative of class society and to re-establish the politics of its aesthetics?

Political philosophy is an examination of distribution of power in human communities and institutions. In previous period when identity issues were the most important political approach philosophy of sport had to deal mostly with discrimination and much less with the distribution of power in sport governance. Recent scandals revealed that at the top of sport governing bodies. Even more: it exposed the political character of the distribution of unleashed power in sport. That is why it is not enough to punish ad to prevent. It is necessary to change the distribution of power, reform the models of control over political power in sport and to rethink the whole system of governance in sport. The proposal of this paper is just one short step in this direction with two points of departure: a change in initial sport’s associational character of aristocratic distribution of power into contemporary state of corporation with managerial distribution of power; and political philosophy’s proposals for models of...

Knjiga Estetske revolucije in avantgardna gibanja dvajsetega stoletja je nastala pod uredniškim vodstvom Aleša Erjavca kot skupni projekt skupine specialistov, od katerih se je vsak posvetil enemu od izbranih avantgardnih gibanj – Sascha Bru (italijanski futurizem), John E. Bowlt (ruski konstruktivizem), Raymond Spiteri (nadrealizem; situacionizem), David Craven (mehiški muralizem), Tyrus Miller (neoavantgarda v Združenih državah Amerike) in Miško Šuvaković (NSK). Vsaka od teh študij ima lastno interpretativno vrednost, obenem pa se vključuje v nov poskus uokvirjenja avantgardnih gibanj v pristop, ki ima sodobno teoretsko moč. Ta pristop in skupni okvir je razvil Aleš Erjavec v »Uvodu« in »Zaključku: Avantgarde, revolucije in estetika«. Potreba po novem pogledu na splošno izhaja iz empiričnega dejstva, da so avantgarde dvajsetega stoletja zdaj že zaključena zgodba ter da se s sodobnostjo in sodobno umetnostjo enaindvajsetega stoletja že kaže potreba po celovitejši in smiselni analizi celote tega za dvajseto stoletje značilnega pojava – tudi zaradi vprašanja, ali so avantgardna gibanja mogoča še naprej. Vendar je v izzivu, ki je potreboval tako ekipno raziskovanje, tudi povsem teoretski element. Če navedemo le tri najvidnejše teoretike avantgarde – Poggiolija, Bürgerja in Flakerja –, je Renato Poggioli sicer ponudil teorijo avantgarde, ki bi bila trajni pojav, vendar se je dejansko posvetil tistim iz prvega vala (1909–1930); Peter Bürger je temu istemu valu dal ime »historična avantgarda«, ker je bil prepričan, da je pripadala preteklosti in je neoavantgarda ne more nadaljevati; in le Aleksandar Flaker se je ukvarjal z vsemi tremi valovi avantgardnih gibanj (historična avantgarda, neoavantgarda, retrogarda – postsocialistična avantgarda) in prispeval tudi pomembno razlikovanje med optimalno projekcijo (razvito iz pobude Jurija Lotmana), ki je značilna za umetniške avantgarde, za razliko od političnih, ki gojijo utopijo, vendar je vztrajal pri umetniškosti avantgardnih gibanj, medtem ko njihove političnosti ni vključeval v analizo, ki se je posvečala le (proti-) umetniški vrednosti avantgard. Med te klasične teoretike in sodobnost se je vstavil postmodernizem, ki naj bi tako kot z modernizmom pospravil tudi z avantgardizmom, kar je med drugim onemogočalo širše prepoznanje postsocialističnih avantgardnih gibanj osemdesetih let prejšnjega stoletja.

In my previous texts on aesthetics of sport and of football, the accent was on dramatic aesthetic properties and on everyday aesthetics as a proper framework for the aesthetics of sport in general and football in particular. Here, following this starting point, the character of football as a game of social interactions (a feature pointed out by many sociologists) and its character of purposive sport are examined, to find out what could be the most important aesthetic condition for playing the game and being-in-the-game. To get at the core of the aesthetic side of football, the concept of aesthetic imagination is introduced as a necessary condition for playing the game of football, and three aesthetic regimes for creation of possible worlds or symbolic forms such as football are discussed (mimesis, representation and simulation). There are two steps where the aesthetic imagination helps. The first one is at the entrance where we are leaving ordinary everyday life behind, being ready to accept the world of ...

Milan Damnjanović (1924-1994) published his aesthetic opus in the context of (Yugoslav) Marxist "overcoming" (Aufhebung) of aesthetics and of aesthetics' self-criticism expressed as the "crisis of aesthetics". To oppose both of these critical positions and at the same time reform aesthetics' ability to treat all aesthetic phenomena, but still keep art in special focus, he introduced the problem of immediacy of experience of the world by a human being. In his article "The Problem of Immediacy and Mediation in Marx's Thought" (1970) Damnjanović wanted to demonstrate the primacy of aesthetic dimension in immediacy and immediate mediation/reflection which can support philosophy's legitimate claim to organize it as an open system, and aesthetics' solidity as a discipline of such system. To achieve this purpose, he introduced an intertwined argumentation which combines his reading of Marx's philosophy of labour from Paris Manuscripts and from Capital with Helmut Plessner's esthesiology and Paul Valery's esthésique. To revisit Damnjanović's defence of the Whole, of philosophical systematicity, and of aesthetics' autonomous position as a discipline is an opportunity to argue that he pointed into the right direction, be it in taking Plessner and Valéry for support, or, in taking fundamental philosophical problem of immediacy/mediation as a foundation stone of the status of aesthetics.

The aim of this paper is to defend the position that aesthetics and ethics in sport are not two separate domains or aspects. In sport, the aesthetic and the ethical both arise from sport’s (aesthetic) attractiveness or from the pleasure sport offers to its activists and consumers. To think about sport philosophically, we should find a link and a principle beyond this division as a source of both the aesthetic and the ethical in sport. The philosophy and philosophical sociology of Jean-Marie Guyau is presented as a response to this problem. Two points of fundamental importance are considered critically here: his criticism of any reductionism, and life or the idea of life as key principle of a philosophical system which puts ethics and aesthetics together.

How to examine arguments for calling football ‘a beautiful game?’ To begin with, we need to re-examine what went wrong in the first place, when sport was compared with art. Second, we need to re-examine David Best’s criticism of these initial comparisons (aesthetics understood as philosophy of art, art understood as kingdom of beauty and aesthetic pleasure understood as pure contemplation). His criticism calls for another kind of aesthetics. Fortunately, there already are some well-developed new models. Actually, the idea of philosophical aesthetics embraced by some of the first philosophers of sport and criticized by David Best was at the same time criticized in art and aesthetics. Twentieth-century aesthetic criticisms of aesthetics and avant-garde criticisms of art are the point of departure for contemporary aesthetics of sport. From the point of view of sport’s aesthetics, the most promising are new systematic approaches to aesthetics of everyday life.

Conocimiento con un vasto potencial sin explotar, la estética del deporte despierta un creciente interés en el campo científico. Este ensayo pretende contribuir a la comprensión de la experiencia estética experimentado por el atleta de Taekwondo. Subraye que este experimento se deriva del juego de Taekwondo, donde es importante razonar el desafío, la disputa, que compone lo impredecible, lo que genera situaciones de riesgo. Este riesgo, deslizar sobre la imaginación y la acción, a veces lleva al placer, a veces al desagrado, los dos configuradores de la experiencia estética

O tem, ali je šport »neresen« pojav ali pojav, ki razkriva bistvene razsežnosti tistega, za kar človeku gre, se pogledi razhajajo. Glede na to, da so humanistične študije športa vsaj na prvi pogled nekje na obrobju ved, ki jih združuje Filozofska fakulteta, bi morda veljalo, da ga ne moremo primerjati z globoko resnimi temami, zlasti pa ne z najnovejšimi resnimi zahtevami, ki jih družba postavlja univerzi in znanostim: pripomoči k višji donosnosti in poslovnosti podjetništva ter ohranjati tradicijo in krepiti življenjsko moč naroda. Pa se že pri tem izkaže, da športa ne gre preveč zapostavljati; po eni strani je že nekaj desetletij, kar je postal izjemno kapitalsko zanimivo in donosno področje, v katero podjetniki bodisi vlagajo, da bi dosegali dobičke, bodisi ga podpirajo, da bi z njegovo pomočjo svoje blago povzdignili v simbol pravilno naravnanega načina življenja; po drugi strani pa je tradicija nacionalne pomembnosti vrhunskih športnih izidov in dosežkov le nekaj krajša od drugih načinov mednarodnega uveljavljanja naroda, pomen športnih dosežkov za dokazovanje življenjske moči naroda pa se lahko kosa s pomenom lestvic, kakršne izdajajo mednarodne finančne ustanove o državah, ali lestvic, na katerih najdemo univerze, razvrščene po njihovi pedagoški in znanstveni moči. Pomembnost športa pa podčrtavajo tudi tisti, ki ga ostro kritizirajo in njegovo sodobno vrhunsko različico odklanjajo kot obliko alienacije, manipulacije in ideologije, saj prav športni spektakularizaciji pripisujejo najvišjo napetost, največji pomen in najotipljivejšo moč nad ljudmi, ki bi se morali bojevati za spremembo svojega družbenega položaja in prevrat v vsej družbeni strukturi, pa jih razvedrila, med katerimi ima šport posebej visoko mesto, uspavajo in pomirjajo prav s tem, da njihovo napetost sproščajo v nenevaren odliv socialne energije. Tega kritičnega vidika sodobnega športa ne kaže omejiti zgolj na vrhunski šport in njegovo množično občinstvo v živo ter še bolj množično občinstvo, ki se zbira ob zaslonih novih medijev. Na vrhunski šport se navezujejo številne druge, manj spektakularne dejavnosti, od rekreacijskega športa do različnih načinov skrbi za zdravje in predvsem za privlačen videz telesa (in po fiziognomičnem sklepanju tudi duše in duha), ki jih vrhunski šport, zlasti njegove zvezde, promovirajo, reklamirajo in prodajajo kot športni oziroma zdrav način življenja. Ko bi se omejili samo na doping, bi hitro ugotovili, da je uporaba prepovedanih in zdravju nevarnih sredstev za hitro in učinkovito oblikovanje telesa in spodbujanje njegove učinkovitosti mnogo bolj razširjena na primer med mladimi v obdobju odraščanja kot med vrhunskimi športniki, ki so zdaj že nekaj let pod učinkovitim in vsestranskim nadzorom. O tem, ali ima šport kak lasten in izviren, celo človeško bistven pomen in vlogo, lahko kaj pove filozofija športa, disciplina, ki je precej mlajša od pedagogike športa – verjetno najstarejše humanistične discipline o športu, pa tudi od psihologije in sociologije športa. Kot disciplina se je razmahnila šele v šestdesetih letih prejšnjega stoletja, zato je šlo sprva zlasti za ukvarjanje z definicijo športa in dokazovanje filozofske pomembnosti športa. Pri prvem je bila seveda vodilna anglosaška analitična filozofija športa, pri drugem pa je največ izhodišč ponujala in še ponuja fenomenološka smer v filozofiji. Razlikovanje med igro, ki je imela v filozofiji vsaj od Friedricha Schillerja dalje svoje vidno mesto, in tekmo (če angleška play in game tako prevedemo), je tu ključnega pomena, saj pojmovanja o tem, kaj je šport, po eni strani ožijo območje pojma na tekmovalne igre, ki potekajo po splošno sprejetih pravilih in pod okriljem ustreznih športnih institucij, po drugi strani pa ga širijo daleč prek zgolj tekmovalnega športa na vse igrive dejavnosti, pri katerih gre za telesno gibanje, ne glede na smoter, ki ga to gibanje ima. Igrivost kot značilnost pa je že dolgo hkrati tudi problematično razlikovanje, saj temelji na ločevanju igre in dela, po katerem se šport vpisuje na stran svobode, delo pa na stran nujnosti. Prav to razlikovanje je športu dalo tudi ime, saj de(s)porter, iz katerega izvira izraz šport, pomeni deportacijo – prehod čez mejo/vrata, v primeru športa mejo med vsakdanjim življenjem, obremenjenim z nujo, in življenjem onstran običajnega reda, ki se je včasih po pravilu dogajalo izven mestnega obzidja in na drugi strani mestnih vrat, podobno kot gledališče. To mesto športa, deportiranega v prostor »onkraj nadzora«, pa je že dolgo vprašljivo, in to ne le zato, ker so vrhunski športniki in športnice vsi po vrsti profesionalci in živijo od lastnega športnega dela, in tudi ne zgolj zato, ker so ne glede na nekatere visoke zaslužke dejansko v položaju mezdnih in prekarnih delavcev in delavk. Športna dejavnost sama, pa naj gre za vrhunski in tekmovalni šport ali za dril, ki si ga privoščimo v fitnesu ali na aerobiki, je strukturirana na enak način kot delo in ta struktura oziroma režim ukvarjanja s športom je znanstveno podgrajen. Na prehodu iz fordističnega športnega režima v postfordističnega se ni pripetila le sprememba iz enega v drugi način znanstvenega obravnavanja doseganja rezultatov, ampak je skoraj do konca izginila vidna razlika med ukvarjanjem s športom in ukvarjanjem z mučnim vsakdanjim delom. Potreba po doseganju določenih ciljev je ukvarjanje s športom spremenila v utilitarno usmerjeno dejavnost, ki gre po najbližjih in najhitrejših poteh do cilja, pri tem pa bolj kot lastni potrebi po sprostitvi in lastni želji po igrivosti postaja na las podobna delu v času, ko se je tudi delo samo razblinilo na vse konce časa – ki ga ne za delo ne za šport nikdar ni dovolj in ga imamo vedno premalo. Razlikovanje med delovnim in prostim časom je izgubilo pomen, pa tudi pridobitni smoter imata danes vgrajena oba, le da deluje z nekoliko drugačnimi režimi na različnih območjih in pri različnih načinih proizvodnje presežne vrednosti. Vse to seveda niso niti samo filozofska niti zgolj obča vprašanja. Zastavljajo se zlasti v zvezi z etiko tistih ved, ki skušajo učinkovito pomagati športnikom in športnicam k vrhunskim dosežkom ali pa »navadnim ljudem« pri njihovi skrbi za krepko, privlačno in zdravo telesnost, in s tem ustvarjajo priporočene režime odkrivanja talentov, treniranja discipline, primerne koncentracije, pa tudi za igrivost potrebne sproščenosti. Danes so tako kot drugod tudi v športnih vedah etična vprašanja o lastnem ravnanju, tako kot tudi etična vprašljivost športnih dejavnosti samih, izrazito v ospredju. Lahko bi rekli, da šport postaja etično tembolj vprašljiv, čim bolj je ukvarjanje z njim namenjeno predvsem proizvajanju privlačnosti teles in dogodkov, ki poganjajo različne športno-kapitalske sisteme, ter mnogo manj izvirni igrivosti in tekmovalnosti. Vendar tako kot pri umetnostih, ki so vedno krasile in tudi danes krasijo javni videz najrazličnejših političnih in ekonomskih režimov in vladavin, tudi pri športu velja, da brez igrivosti in tekmovalnosti, ki prepričata s svojo pristnostjo, šport ne bi mogel ohranjati in v zadnjih desetletjih tako postoteriti svoje privlačnosti, gledanosti in tudi množičnosti. Ko bi izgubil to lastno značilnost, bi postal tudi za vse druge cilje in smotre neuporaben, tako kot kak zastarel način proizvodnje, ki ga je treba opustiti v prid novim načinom. Potreba po športnem razvedrilu, aktivnem ali pasivnem, ni posledica vsega, kar lahko danes kritičnega povemo o športnih ustvarjalnih industrijah, ampak njihov vzrok in pogoj. Model sodobnega športa sprejema in se uravnava po sodobnih načinih alienacije, manipulacije in ideologije, vendar jim hkrati ves čas uhaja prav zato, ker so le po tem, da si ga ne morejo do konca podrediti in obvladati, lahko tudi uspešne. V tem naboru člankov so zastopane različne vede (sociologija, psihologija, pedagogika, filozofija, zgodovina ...) in različne teme. Tudi metode, ki jih avtorice in avtorji uporabljajo pri raziskovanju športa, so raznovrstne in segajo od klasične filozofske analize konceptov do kvantitativnih in kvalitativnih metod, med katerimi so polstrukturirani intervjuji tudi pri vedah, ki se ukvarjajo s športom, v ospredju. Ta raznolikost je do neke mere odvisna od predmeta raziskovanja, saj je šport kaj kompleksno prizorišče, ni pa več toliko odvisna od tega, za katero znanost gre. Morda je prav po metodološki plati raziskovanje športa značilno za usmeritev vseh humanističnih ved v uporabo različnih metod raziskovanja, in to ne drugo za drugo, ampak tudi v hibridnih povezavah. Kar tu objavljena besedila druži, je poleg tega, da so njihove tematike iz sveta športa, tudi to, da gre za humanistične vede, ki jih razvija in poučuje filozofska fakulteta, in da so njihovi avtorji in avtorice tako ali drugače povezani z našo Filozofsko fakulteto. Tako v poučevanju kot v raziskovanju dobiva tematika športa tudi na naši fakulteti, posebej po reformi, več prostora, predvsem pa, kot kaže razpon tu objavljenih besedil, zahtevnejše ambicije. Merijo se lahko ob tem, kar na tem področju danes zmorejo drugod, stremeti pa hočejo k tistemu, kar bodo še dosegle v bodočnosti: večina med avtorji in avtoricami, kot se za Ars&Humanitas spodobi, je na začetku podiplomskega ali podoktorskega obdobja raziskovanja. Urednika sva pripravila ta izbor besedil med drugim in nikakor ne nazadnje tudi zato, da bi bil koristno znanstveno sporočilo, hkrati pa v navdih in spodbudo študentkam in študentom, ki se bodo odločali za humanistične športne študije.

In 1984 Christopher Cordner offered a critical view on theories of graceful movement in sport developed by Ng. G. Wulk, David Best and Joseph Kupfer. In 2001 Paul Davis criticized his view. Cordner responded, rejecting all the criticism. More than a century before, Herbert Spencer and Jean-Marie Guyau had a similar controversy over grace. Both exchanges of opinion involve three positions: that grace is the most efficient movement and therefore something quantitative and measurable; that grace is expression of the wholeness of person and the world; and that grace is something which neither science nor philosophy can explain. To clarify these conflicting issues, this article proposes to examine the history of the notion which goes back to the Latin gratia and has root in the Ancient Greek charis, and to apply the concepts of cultural anchor and thin coherence, following John R. Searle’s explanation that we produce epistemically objective accounts of ontologically subjective reality.

Članek je del širše raziskave v okviru doktorske disertacije s področja športnih znanosti na Fakulteti za šport Univerze v Portu na Portugalskem. Omenjena raziskava proučuje »gibanje telesa« in estetsko izkušnjo taekwon-do športnika med borbo in izvajanjem tehnike poomsae ter estetsko vrednost, lastno temu športu. Telo skozi igro ustvarja lepe vzvišene oblike, v času in prostoru za rekreacijo deluje kot estetski objekt. Športniki si prizadevajo preseči svoje omejitve, da bi izvedli čim lepše, zahtevnejše in natančnejše gibe, njihova izpolnitev in športnikovo samopriznanje pa postaneta vir estetske izkušnje. Trdimo, da estetski užitek, ki ga doživlja taekwon-do športnik, izhaja iz celovitega prepleta odnosov, ki združujejo med drugim občutek strahu, žalosti, negotovosti, tveganja, zmage, mehkobe, miline in agresije in ki vzbujajo hkrati privlačnost in navdušenje. Članek se sklene s trditvijo, da se taekwon-do športnik, ko med tekmo udari po glavi svojega nasprotnika, ko izvaja skladno zaporedje poomsae ali precizno tehniko, s katero bo prelomil kos lesa, sooča z izjemno lepoto, ki ga vključuje in izpolnjuje.

We can find certain parallelism between architecture and sport in history (Rome) and in contemporaneity with spectacular sport as most global kind of entertainment, and recognizable sport architecture as sign of its universal presence. London Olympic Games 2012 followed slogan "Architecture for Humanity", adding ecological and social concern to more traditional idea of sport objects as modern cathedrals. Sport architecture has become a statement, and it embodies ideology which turns sport into reason for hope. Sport architecture is created on the field where standardization of space (and time) exists for more than hundred years, together with concentration of power in sport associations which, during these hundred years, changed their identity from civil society movements into capital enterprise institutions. Original meaning of "sport" (desportes, deport) as activity deported beyond regular and ordinary everyday life was extended into new region of space and time where mass media entertainment is produced. Contemporary sport architecture has to follow specifically sport rules for playground space, and rules of media presence. Sport places are spaces where massive audience watches the game, and were it watches itself watching - to be seen by massive media audience whose virtual presence is perhaps today the most important concern of architectural design for sport.

Athletes Whereabouts Information demands that ‘athletes who have been identified by their International Federation or National Anti-Doping Organization for inclusion in a Registered Testing Pool shall provide accurate, current location information’. As from 1 January 2009, this means that elite level athletes have to report on their out-of-competition whereabouts 24 h per day and 7 days a week. This kind of total surveillance requires active participation of athletes, starting with their signature allowing anti-doping authorities to reach them anytime and anywhere. This instrument of control has been discussed from moral and legal points of view, especially as potential human rights violation, and with conclusions which either support or criticize the instrument. This article seeks to contribute to another topic: Why did anti-doping control in elite sport develop in such a way that it demands measures which would be unacceptable if introduced by any other state or international authority? There are two ma...

In 2007, Slovene philosopher Boris Vezjak published a book on The Relaxed Ideology of the Slovenes (Vezjak 2007; in Slovene and in English), analysing the political implications of the philosopheme “relaxedness” in Slovenia during the 2004 election year, including its history and aftermath. Reading his book which covered nearly all the angles, but not elite sport ideology of relaxedness, I decided to add this specific chapter. This paper, however, is heavily indebted to Vezjak’s approach, his assessment of Heidegger’s and Heideggerian political and ideological (ab)use of “relaxedness” under specifically Slovene circumstances. Heidegger developed his non-concept Gelassenheit after World War II. Its meaning remains uncertain and controversial, something different from notions of everyday conversation. In Slovene, however, it has been translated as sproscenost, which is parallel to English ‘relaxedness’, thus producing hybridity between notions of relaxedness, relaxation and releasement, which is, together with letting-go, a proper English translation of Gelassenheit. This hybridity was (ab)used for political slogans during the 2004 elections, when Heidegger’s term was repeated on and on, until it entered popular discourse as well as other domains such as the economy, culture, and media. This phenomenon was examined by Boris Vezjak in The Relaxed Ideology of Slovenes (The Peace Institute, Ljubljana 2007). Relaxedness-releasement entered sport jargon as well, but Vezjak’s book did not cover this field. At first abundant, this term more or less disappeared later. With one exception: in ski jumping, where it became one of the main words used to explain what was missing from Slovenian ski jumping during 2004-2009 period. In Slovenia, ski jumping is a national sport, and the absence of excellence during this long period created additional pressures on athletes and the whole ski jumping commonwealth. To examine the numerous cases where releasement was used to explain what is wrong with ski jumpers, or what they finally achieved in rare examples of success during that period, the only Slovene sport daily, “Ekipa” (The Team), was consulted for research. This study revealed that releasement was indeed lost in translation, appearing in ads as a signifier without any certain signified, and functioning as a je-ne-sais-quoi of sport performance and excellence. Through cases of repeated use of releasement as mystical and at the same time scientific (instead of relaxation) and colloquial notion (which is relaxedness, even carelessness), we get at inoculation of kinesiological mechanicism and psychological technique with philosophical mysticism. releasement, Heidegger, ski jumping

Hook to the ChinWithin historical avant-garde movements from the beginning of the 20th century, a curious taste and fascination for boxing burst out, and developed later into the claim that art must become more similar to boxing, or to sport in general. This fascination with pugilism in the early stage of its popularity on the continent included such charismatic figures of the Parisian avant-garde as Arthur Cravan, who was Oscar Wilde's nephew, a pretty good boxer and an unpredictable organizer of proto-dada outrages and scandals.After WWI, the zenith of artists' and intellectuals' love for boxing was reached in Weimar Germany. One of the well known examples connecting boxing with art was Bertolt Brecht with his statement that we need more good sport in theatre. His and other German avant-garde artists' admiration for boxing included the German boxing star May Schmeling, who was, at least until he lost his defending championship match against Joe Louis, an icon of the Nazis as well. Quite contrary to some later approaches in philosophy of sport, which compared sport with an elite art institution, Brecht's fascination with boxing took its anti-elitist and anti-institutional capacities as an example for art's renewal.To examine why and how Brecht included boxing in his theatre and his theory of theatre, we have to take into account two pairs of phenomena: sport vs. physical culture, and avant-garde theatre vs. bourgeois drama. At the same time, it is important to notice that sport, as something of Anglo-Saxon origin, and especially boxing, which became popular on the European continent in its American version, were admired by Brecht and by other avant-garde artists for their masculine power and energy. The energy in theatre, however, was needed to disrupt its cheap fictionality and introduce dialectical imagination of Verfremdungseffect (V-effect, or distancing effect). This was "a hook to the chin" of institutionalized art and of collective disciplinary morality of German tradition.

At IAPS Ljubljana conference (September 2007) Dag Vidar Hanstad and Sigmund Loland presented a paper on elite-level athletes' duty to provide information on their whereabouts, to decide between two opposing positions: is this WADA demand justifiable anti-doping work or an indefensible surveillance regime? They concluded that on moral grounds this regime is conditionally acceptable, the condition being the acceptability of a general framework and objectives embodied in anti-doping global legislative foundations (the World Anti-Doping Code). But, as they said, principled objections against the system have more universal relevance, which has to be taken seriously. To take this ambiguous and intriguing conclusion a step further, I propose a legal rather than ethical approach, from the aspect of constitutional and international human rights law, and the possible clash of two legally acknowledged values – the concept of elite sport without doping, and the concept of individual human rights. This conflict betwee...

How could philosophy come to an end? Understood as love of wisdom, philosophy knew that it knew nothing. It started with examination of those who were supposed to know, and found out that they know nothing, but do not know that. Consequently, philosophy knows better because at least it knows that it does not know anything. Later, philosophy found out that people are enslaved because they do not question their own conditions. Therefore, its mission became to enable people to start thinking. When it started to believe that it knows, philosophy came to its end for the first time. The second end of philosophy may happen when it discovers that people, without philosophy’s instructions, can think, and that philosophy itself should rethink its position of critique: presupposed innocence of its criticism. To demonstrate this need in contemporaneity, I will present two cases of philosophical criticism: that of the criticism of contemporary art, and that of the radical critique of sport., Kako bi filozofija mogla doći k svome kraju? Shvaćena kao ljubav prema mudrosti, filozofija je znala da ništa ne zna. Krenula je s propitivanjem onih koji su trebali znati te saznala da oni ništa ne znaju, no da to ne znaju. Posljedično, filozofija zna više od svih njih jer ona barem zna da ništa ne zna. Kasnije je filozofija saznala da su ljudi porobljeni zato što ne propituju uvjete vlastita postojanja. Prema tome, njena je misija postala omogućiti ljudima da započnu misliti. Kada je počela vjerovati da zna, filozofija je prvi puta došla svome kraju. Drugi kraj filozofije može se dogoditi kada filozofija otkrije da ljudi mogu misliti i bez njenih instrukcija te da ona sama mora nanovo promisliti vlastitu poziciju za kritiku: pretpostavljenu nedužnost njene kritike. Kako bih predočio ovu potrebu u suvremenosti, predstavit ću dva slučaja filozofijske kritike: kritiku suvremene umjetnosti i radikalnu kritiku sporta., Comment la philosophie pourrait-elle toucher à sa fin ? Comprise comme amour de la sagesse, la philosophie savait qu’elle ne savait rien. Elle a commencé avec la remise en question de ceux qui étaient censés savoir, et a découvert qu’ils ne savaient rien, mais ne le savaient pas. Par conséquent, la philosophie sait mieux car au moins elle sait qu’elle ne sait rien. Plus tard, la philosophie a découvert que les gens sont asservis car ils ne questionnent pas leur propre condition. Donc, sa mission est devenue celle de rendre les gens capables de penser. C’est lorsqu’elle a commencé à croire qu’elle savait que la philosophie a touché à sa fin pour la première fois. La deuxième fin de la philosophie pourrait arriver lorsqu’elle aura découvert que les gens, sans les instructions philosophiques, peuvent penser, et que la philosophie elle-même devrait repenser sa position de critique : l’innocence présupposée de ses critiques. Afin de démontrer ce besoin dans la contemporanéité, je présenterai deux cas de critique philosophique : celui de la critique de l’art contemporain et celui de la critique radicale du sport., Wie könnte die Philosophie zu ihrem Ende kommen? Als Liebe zur Weisheit begriffen, wusste die Philosophie, dass sie nichts wusste. Sie begann mit der Prüfung jener, die es wohl wissen sollten, und fand heraus, dass sie nichts wissen, sich dessen aber nicht bewusst sind. Folglich weiß es die Philosophie besser, da sie wenigstens weiß, nichts zu wissen. Später entdeckte die Philosophie, dass Menschen versklavt sind, weil sie ihre eigenen Existenzbedingungen nicht in Zweifel ziehen. Daher wurde ihre Mission, Menschen zu befähigen, ihr Nachdenken in Gang zu setzen. Als sie zu glauben begann, sie würde wissen, kam die Philosophie erstmals zu ihrem Ende. Das zweite Ende der Philosophie könnte passieren, wenn sie erspürt, dass Menschen ohne ihre Instruktionen denken können und sie selbst ihre kritische Position neu überdenken sollte: nämlich die vorausgesetzte Unschuld ihrer Kritik. Um diesen Bedarf in der Zeitgenossenschaft zu demonstrieren, werde ich zwei Fälle der philosophischen Kritik präsentieren: die Kritik der zeitgenössischen Kunst und die radikale Kritik des Sports.

The aim of this paper is to explain that it is not useful to grasp all transformations at the University during last decades under terms of the struggle between evil politics and innocent academy, because universities were involved in formation and promotion of reforming guidelines, and went through inside ideological split and political fight during this process. Also, it is not appropriate to find neoliberalism an enemy which has to be defied and defeated with resources of the critique of ideology, because this leads into the conflict between ideology (presumably, but not really coming from the outside world) and science (presumably belonging to universities themselves). Here too, universities were involved in the process, be it in foundations of neoliberalism, be it in de(con)struction of scientific totality and autonomy. The parallelism between art and science as two autonomous domains of modernity, and their postmodern turn which left them without solid ground of inherited autonomy, will be exposed to support this thesis. Finally, University used to be the special and autonomous workshop with its own laws of procedure, secluded from market economy, to become educational factory, and now, finally, the enterprise. There is no way back. But is there a way out? Contemporary critique of political economy is where we should look at least for a start, and united appearance of students and teachers could give some power to bring academy back into hands of those to whom it originally belongs., Cilj je ovog rada objasniti da nije svrsishodno shvaćati sve transformacije na sveučilištu posljednjih desetljeća u pogledu borbe između zle politike i nevine akademije, jer su sveučilišta bila uključena u oblikovanje i promoviranje smjernica reforme, te su prošla unutarnje ideološku podjelu i političku borbu tijekom ovog procesa. Također, nije prikladno smatrati neoliberalizam neprijateljem od kojeg se treba obraniti i poraziti ga resursima kritike ideologije, budući da to vodi u sukob ideologije (koja naizgled, no ne i u stvarnosti, dolazi iz vanjskog svijeta) i znanosti (koja po pretpostavci pripada samim sveučilištima). Usto su sveučilišta bila uključena u taj proces, bilo u utemeljenju neoliberalizma, bilo u de(kon)strukciji znanstvene cjelokupnosti i autonomije. Paralelizam između umjetnosti i znanosti kao dvije autonomne domene moderne, kao i postmoderni okret koji im je izmaknuo čvrsti temelj naslijeđene autonomije, bit će razmatran kako bi podupro ovu tezu. U konačnici, sveučilište je nekada bilo posebna i autonomna radionica s vlastitim zakonima procedure, odvojena od tržišne ekonomije, da bi prvo postalo obrazovna tvornica, a danas konačno i poduzeće. Povratka nema. No postoji li izlaz? Suvremena kritika političke ekonomije je mjesto koje bi barem za početak trebali razmotriti, a ujedinjen nastup studenata i nastavnika bi mogao dati neku moć za povratak akademije u ruke onih kojima je izvorno pripadala., L’objectif de cet article est d’expliquer qu’il n’est pas opportun de penser à toutes les transformations survenues à l’Université depuis les dernières décennies en termes de confrontation entre une politique malveillante et une université innocente, car les universités ont été impliquées dans la formation et la promotion des lignes directrices de réforme et ont connu une division idéologique et une lutte politique interne au cours de ce processus. En outre, il ne convient pas de considérer le néolibéralisme comme ennemi qu’il faut défier et battre avec les ressources de la critique de l’idéologie, car cela mène au conflit entre l’idéologie (qui semble venir, mais ne vient pas vraiment du monde extérieur) et la science (censée appartenir aux universités ellesmêmes). Là aussi, les universités ont été impliquées dans le processus, que ce soit dans le fondement du néolibéralisme ou la dé(con)struction de la totalité et de l’autonomie scientifiques. Pour soutenir cette thèse, on exposera le parallèle entre l’art et la science en tant que deux domaines autonomes de la modernité, ainsi que leur tournant post-moderne qui les a laissés sans le fondement solide d’une autonomie héritée. Enfin, l’université fut autrefois un atelier singulier et autonome avec ses propres règles de procédure, séparé de l’économie de marché, avant de devenir d’abord une usine d’enseignement, puis finalement aujourd’hui une entreprise. Il n’y a pas de retour. Mais y a-t-il une porte de sortie ? L’endroit où nous devrions regarder, du moins pour commencer, est la critique contemporaine de l’économie politique, tandis qu’un bloc uni d’étudiants et d’enseignants pourrait dispenser un certain pouvoir pour ramener l’académie dans le giron de ceux à qui elle appartenait initialement., Das Bestreben dieses Papers ist die Erläuterung, dass es nicht segensreich ist, sämtliche Transformationen an der Universität in den vergangenen Dezennien unter Bezug auf die Zwiespältigkeit zwischen der bösartigen Politik und der schuldlosen Akademie auszulegen, denn die Universitäten waren an der Gestaltung bzw. Förderung der reformerischen Leitlinien beteiligt und durchliefen eine innere ideologische Spaltung wie auch ein politisches Gefecht im Laufe dieses Prozesses. Darüber hinaus ist es deplatziert, den Neoliberalismus als Feind auszuweisen, gegen den man vermöge der Ideologiekritik aufzubegehren und welchen man zu bezwingen hat, da dies zum Zerwürfnis zwischen Ideologie (die scheinbar, allerdings nicht tatsächlich von der Außenwelt stammt) und Wissenschaft (vermutlich den Universitäten selbst angehörend) führt. Auch diesbezüglich waren die Universitäten in diesen Fortgang involviert, sei es in der Gründung des Neoliberalismus, sei es in der De(kon)struktion der wissenschaftlichen Totalität und Autonomie. Um der angesprochenen These Rückhalt zu verschaffen, wird die Parallelität zwischen Kunst und Wissenschaft als zwei autonomen Domänen der Modernität als auch deren postmoderne Kehrtwende erörtert, die ihnen festen Boden der ererbten Autonomie entzog. Schließlich fungierte die Universität ehedem als spezielle und autonome Werkstatt mit eigenen Verfahrensvorschriften, abgesondert von der Marktwirtschaft, um zuerst zu einer Bildungsfabrik und derweil letztendlich zum Unternehmen auszuarten. Es gibt keinen Weg zurück. Ist jedoch ein Ausweg in Sicht? Die zeitgenössische Kritik der politischen Ökonomie muss der erste ultimative Gegenstand unseres Augenmerks werden, und der vereinigte Auftritt der Studenten und Lehrer könnte einigen Schwung zur Rückkehr der Akademie in die Hände jener bringen, denen sie ursprünglich zugehörte.

Community, as the public concern of all grown men, and their personal freedom in the privacy of production and family, are two fundamental values of modernism, framed in representative democracy and national State as models of rule. Transgression of the limitations of participation in community and transformation of private relations into a public question, along with the impossibility of representative democracy to produce its demos and along with the sovereignty of the national State being corroded, leads to seeking new, universal and global values and institutions.

Conhecimento com um vasto potencial ainda por explorar, a estética do desporto desperta cada vez mais interesse no campo científico. Este ensaio busca contribuir para a compreensão da experiência estética vivenciada pelo atleta de Taekwondo. Realça-se que esta experiência decorre do jogo do Taekwondo, no qual importa considerar o desafio, a disputa, de que decorre imprevisibilidade, gerando-se situações de risco. Este arriscar, deslizar na imaginação e na ação, conduz umas vezes ao prazer, outras ao desprazer, ambos configuradores da experiência estética., A Knowledge with a vast unexploited potential, the aesthetics of sport arouses increasing interest in the scientific field. This essay seeks to contribute to the understanding of aesthetic experience experienced by the Taekwondo athlete. It is emphasized that this experience stems of the Taekwondo game, in which it must be considers the challenge, the dispute, which stems from unpredictability, generating risk situations. This risk, slip on imagination and action, leads sometimes to pleasure, sometimes to the displeasure, both configurators of aesthetic experience., Conocimiento con un vasto potencial sin explotar, la estética del deporte despierta un creciente interés en el campo científico. Este ensayo pretende contribuir a la comprensión de la experiencia estética experimentado por el atleta deTaekwondo. Subraye que este experimento se deriva del juego de Taekwondo, donde es importante razonar el desafío, la disputa, que compone lo impredecible, lo que genera situaciones de riesgo. Este riesgo, deslizar sobre la imaginación y la acción, a veces lleva al placer, a veces al desagrado, los dos configuradores de la experiencia estética.