  A further challenge to the idea that sport can be art is that art concerns something beyond itself, whereas sport concerns play and nothing in real life beyond play. For instance, an actor playing Hamlet is not Hamlet in real life. They represent the modern individual’s existential struggle. By contrast, a point guard in basketball is actually a point guard; point guards do not represent anything outside the game of basketball. In response, Kevin Krein (2008) and Tim L. Elcombe (2012) have argued that, like art, sports convey values and meanings external to sport that represent, or present an alternative to (in the case of non-traditional sports such as climbing and surfing), the culture in which sport practitioners find themselves. In Terrence J. Roberts’ (1995) view, athletes are ‘strong poets.’ They expresses something about our life situation as embodied agents (Mumford, 2014). Drawing on Nelson Goodman (1978), philosophers such as Edgar, Breivik, and Krein understand sport as worldmaking, that is, sport embraces and refigures symbolic worlds outside of sport, opening up new ways of describing, or making, such non-sporting worlds. Sport provides resources for re-describing the non-sporting world. Building upon this view of sport, Edgar (2013a) argues for a shift from sport aesthetics to sport hermeneutics, that is, to the interpretation of the meaning of sport and how that meaning is interpreted (see Lopez Frias &amp; Edgar, 2016). 