  Eliseo Vivas (1959, p. 228) contends that, unlike aesthetic experiences, sport cannot be experienced disinterestedly. To do so, one must bracket an essential feature of sport: competition. For Maureen Kovich (1971), if athletes and spectators focused on the aesthetic aspects of sport, their preoccupation would be the observation and creation of art in movement rather than on scoring and winning. The main purpose of sport is to meet physical challenges and to compare oneself to others in doing so. For instance, in the high jump, the goal is to clear the bar by jumping over it. Athletes compete to see who can jump the highest, not the most beautifully. Dick Fosbury introduced the ‘flop’ not because it was more beautiful than previous techniques (i.e., scissors, western roll, and straddle jump), but because it was more effective (2007). To ignore the essential competitive elements of sport in favor of aesthetic principles is to fail to take sport seriously. To strengthen this claim, Paul Ziff (1974) argues that some sporting events have little or no aesthetic value. Often, athletes play dirty and achieve ugly victories. In support of this view, David Best (1974, 1985) argues that most athletes prefer an ugly victory than a defeat where they have performed gracefully. On this view, not only is aesthetics inessential to sport, but the pursuit of aesthetic purposes can undermine the achievement of sport’s main goals. Thus, Ray Elliot (1974) posits that the goddess of sport is not Beauty but Victory. Creating beauty should never be the main goal of sport. Aesthetics is incidental in sport, whereas, in art, it is the principal aim. Therefore, sport is not an art.