How can we increase awareness and understanding of other cultures using interactive digital visualizations of past civilizations? In order to answer the above question, this book first examines the needs and requirements of virtual travelers and virtual tourists. Is there a market for virtual travel? Erik Champion examines the overall success of current virtual environments, especially the phenomenon of computer gaming. Why are computer games and simulations so much more successful than other types of virtual environments? Arguments that virtual environments (...) are impeded by technological constraints or by a paucity of evaluation studies can only be partially correct, for computer games and simulations are also virtual environments. Many of the underlying issues are caused by a lack of engagement with the philosophical underpinnings of culture, presence and inhabitation, and there are few exemplars that engage the public with history and heritage using interactive media in a meaningful and relevant manner. The intention of Playing With the Past is to help designers and critics understand the issues involved in creating virtual environments that promote and disseminate historical learning and cultural heritage through a close study of the interactive design principles at work behind both real and virtual places. Topics discussed include the design of virtual environments, and especially virtual heritage environments, virtual place-making, cultural presence, the pros and cons of game-style interaction, augmented reality projects, and appropriate evaluation methods. Virtual heritage environments discussed in the book include projects from Antarctica, Australia, Mexico, Malta, Egypt, Babylon, the Netherlands, Cambodia, and India. (shrink)

In this explorative study, we investigated motives of autonomous learners to participate in an online course, and how these motives are related to gameplay motivations, engagement in the course experience, and learning outcomes. The guiding premise for the study has been the idea that learning and game playing carry phenomenal similarities that could be revealed by scrutinizing motives for participating in a massive open online course that does not involve any intentionally game-like features. The research was conducted by analyzing survey (...) data collected from individuals who had voluntarily participated in an open online course about artificial intelligence and its societal impact. The survey included an explorative Motives for Autonomous Learning inventory. Exploratory factor analysis suggested that the MAL inventory consisted of six dimensions out of which four were consistent with factors that earlier research has associated with motives to engage with video games. Of the identified factors, the dimension that most clearly described autonomous and playful predispositions was found to be a main precedent for both experienced gamefulness of the learning experience and positive learning outcomes. In all, the results of this study demonstrated that playfulness and autonomy were both prominent and significant factors across the whole learning process. (shrink)

Gamification is an increasingly common marketing tool. Yet, to date, there has been little examination of its ethical implications. In light of the potential implications of this type of stealth marketing for consumer welfare, this paper discusses the ethical dilemmas raised by the use of gamified approaches to marketing. The paper draws on different schools of ethics to examine gamification as an overall system, as well as its constituent parts. This discussion leads to a rationale and suggestions for how gamification (...) could be regulated and/or controlled by more informal codes of conduct. The paper ends by outlining a practical framework which businesses can use to evaluate the potential ethical implications raised by their own gamified marketing techniques. (shrink)

This paper considers literary responses to the role of competition in the polis of the late Geometric and Archaic periods through the semantics of the word eris , with particular reference to Hesiod's account of the two Erides at Works and Days 11–26. As Homeric and Epic Cycle usage makes clear, the innovation in this passage is not the assertion that there is a positive as well as a destructive form of eris but the qualitative polarization between them. This polar (...) opposition is a reflex of, and an attempt to gain cognitive mastery over, a fundamental cultural problem: the need of the polis to project direct forms of violence externally as intercommunal warfare, to eliminate internal discord or at least limit its effect, and to use the competitive energies associated with eris positively, in the interest of social and political cohesion. Uses of eris in Herodotus, Xenophon, and Thucydides confirm the lexical argument and show the continuity of these issues in Greek culture. (shrink)

Why do people seemingly want to be scared by movies and feel pity for fictional characters when they avoid situations in real life that arouse these same negative emotions? Although the domain of relevant artworks encompasses far more than just tragedy, the general problem is typically called the paradox of tragedy. The paradox boils down to a simple question: If people avoid pain then why do people want to experience art that is painful? I discuss six popular solutions to the (...) paradox: conversion, control, compensatory, meta-response, catharsis, and rich experience theories. (shrink)

This article examines the turn to the aesthetic dimension in early 20th century critical theory, particularly in the work of Lukács, Benjamin and Adorno. It focuses on the concept of play, which garnered particular attention as a possible form of aesthetic resistance to the reification of reason in modern society. The article traces the concept of play from the work of Lukács, who engaged with Schiller’s notion of the play-drive but ultimately viewed it to be an inadequate form of aesthetic (...) resistance, to the work of Benjamin, who optimistically embraced the revolutionary possibility of play. In contrast, the article argues that Adorno’s work tacitly advances a critical concept of dark play that offers a third perspective between Lukács’s pessimism and Benjamin’s optimism, thus avoiding both the retreat into an apolitical aesthetic dimension and the uncritical embrace of play’s revolutionary potential. (shrink)

Lars von Trier's movies can be seen as a series of iterations in an infinitely repeated prisoner's dilemma. After testing the logic of this game, at the core of which is the dilemma of cooperation or conflict, at the middle level at which an individual confronts a community up till Dogville, he has transposed the game to the level of social systems in Manderlay and the level of the minimal social unit, the couple in Anti-Christ. The story is the Oedipus (...) myth reversed and fit into the logic of the prisoner's dilemma which is, one could argue, the mathematical model of a Hobbesian world view. In that sense it could be called Von Trier's Anti-Oedipus. Moreover, this is the first film in which Von Trier fully embraces digital technologies. It is as if he as a filmmaker acts like the male protagonist in Anti-Christ, and assumes the role of the Anti-Christ in order to become a Savior, since digital technologies and special effects are aligned with 'evil' in this movie. (shrink)

This paper offers an analytical description of the ethics of game design and its influence in the ethical challenges computer games present. The paper proposes a set of game design suggestions based on the Information Ethics concept of Levels of Abstraction which can be applied to formalise ethical challenges into gameplay mechanics; thus allowing game designers to incorporate ethics as part of the experience of their games. The goal of this paper is twofold: to address some of the reasons why (...) computer games present ethical challenges, and to exploit the informational nature of games to suggest how to develop games with ethics at the core of their gameplay. (shrink)

This article is an inquiry on the role of play in shaping the cultures of the Information Age. By applying concepts from Postphenomenology and the Philosophy of Information, this paper argues that play and computation share a capacity to shape human experience. I will apply the concept of re-ontologization to describe the effect that computation has had in shaping the world. I will apply the concept of relational strategies to argue that play is a way of interfacing with the computational (...) world. This paper argues that play is a particularly relevant form of shaping the human experience of the re-ontologized infosphere because play, like computation, can create worlds. The goal of this article is to propose a research program that situates play as a relevant perspective to analyze the culture of the Information Age. (shrink)

ABSTRACT There has been extensive debate among various disciplines about the nature and value of play. From these discussions it seems clear that play is a phenomenon with more than just one dimension: as a specific type of activity, as a form or structure, as an ontologically distinctive phenomenon, as a type of experience, or as a stance or an attitude towards a particular activity. This article focuses on the importance of the playful attitude in sport. It begins by attempting (...) to describe the underpinning features of a playful attitude, and its relation to Suits’ lusory attitude and the concept of gamification. Finally, it considers and critically evaluates the relationship between play and sport and the importance of the playful attitude in sporting activities. The purpose of this paper is a far deeper analysis of the playful attitude and its relationship to sport than has been previously provided, and a more precise definition as to what the playful attitude is. This will ultimately help to answer questions about the value of sport and how sport ought to be played. (shrink)

Recently Kretchmar attempted to apply and to explore Husserl’s transcendental phenomenological method in relation to clarifying, in the context of sport particularly, the main features of competition. He concludes with the strong claim that competition is unintelligible unless understood in relation to the four elements of plurality, comparison, normativity, and disputation. Roughly, the idea is that competition needs to be understood as a context in which more than one competitor is involved; where competitors are compared; that comparisons are evaluations of (...) their performance/entry in the competition; and that the expected result of the latter is a matter of dispute between or among contestants. In investigating these points some refinement of this basic outline is attempted against occasional reference to others who in the past made similar claims about the conditions of competition. I conclude that Kretchmar’s claims are mistaken. (shrink)

Artikkelen ønsker å gi et konstruktivt bidrag til forståelsen og anvendelsen av fair play i en kroppsøvingsfaglig kontekst. Dette er et tema som er blitt aktualisert i og med at fair play er kommet inn som et sentralt element i kroppsøvingsfagets nye reviderte læreplan. Fair play omhandler regler, normer og verdier som skal gjelde ved idrettsutøvelse, og det er et etablert verdikonsept innenfor organisert idrettsliv og idrettsetisk forskning. I skolen, derimot, er fair play mindre kjent. Kroppsøvingsplanen hevder fair play omfatter (...) aspekter ved idrettsspillet som å overholde regler, vise hverandre respekt og gjøre hverandre gode. Hva betyr så dette? Hva vil det si å gjøre hverandre gode? Rommer det bare en teknisk eller også en sosialetisk kvalitet? Dersom det siste er tilfelle, bør det diskuteres hvilke danningskvaliteter det så ligger i det å gjøre hverandre gode i faget, og om disse har noen tilknytningspunkt til Aristoteles' klassiske dyder om rettferdighet, måtehold, mot og klokskap. Dette er de sentrale spørsmålene artikkelen reiser og prøver å gi noen svar på. Artikkelen ser først på fair play i kroppsøvingsfagets planer, for deretter å gi begrepet en nærmere etymologisk og ideologisk-historisk avklaring, med utgangspunkt i begrepene «fair» og «play». Videre drøftes fair play i lys av de aristoteliske dydene, relatert til kroppsøvingsfaglig kontekst og diskurs.Nøkkelord: kroppsøving, fair play, idrett, lek og danningEnglish summary: Fair play in Physical Education in the light of Aristotelian virtue ethicsThe aim of this article is to give a constructive contribution to the understanding and the application of the concept of fair play in the Physical Education context. This is a topic that has come into focus since fair play has been introduced as a central element in the newest revision of the subject curriculum. Fair play concerns the rules, norms, and values that apply to sports activities, and constitutes an established value concept within organized sports and research related to sports ethics. In schools, however, fair play is less known. The Physical Education curriculum states that fair play concerns aspects of sports and games such as adhering to rules, showing each other respect, and helping each other achieve. What, then, does this mean? What does it mean to help each other achieve? Does it entail purely technical, or also socio-ethical qualities? If the latter is the case, a discussion is needed as to what ethical formation qualities are involved in helping each other achieve in the subject and whether these have any connection to Aristotle's classical virtues of justice, moderation, courage, and wisdom. These are the central issues the article raises and attempts to shed some light on. The article takes a closer look at fair play in the curricula of Physical Education, moving on to an etymological and ideological-historical clarification of the concept, taking the concepts of fair and play as starting points. Further, it discusses fair play in the light of Aristotelian virtues, related to a Physical Education context and discourse. (shrink)

Phenomenological accounts of technology, mediation, and embodiment are beginning to problematize traditional distinctions between subject and object. This shift is often attributed to a material or post-human turn since it is usually associated with an interest in the non-human actors and objects that make media interfaces possible. This article contends that these tendencies should also be considered part of a deeper lineage of dialectical thought in critical theory. Using videogames as an example, I argue that academic debates related to the (...) player/game relationship can be read through the lens of Adorno’s aesthetic theory. Developing Adorno’s concept of mimesis, I argue that the interface is often treated as a dialectical question of how the space between subject and object should be traversed. I reflect on the possible advantages of focusing on this contested space through a discussion of game controllers and the Aristotelian concept of techne. (shrink)

What is a game? What are we doing when we play a game? What is the value of playing games? Several different philosophical subdisciplines have attempted to answer these questions using very distinctive frameworks. Some have approached games as something like a text, deploying theoretical frameworks from the study of narrative, fiction, and rhetoric to interrogate games for their representational content. Others have approached games as artworks and asked questions about the authorship of games, about the ontology of the work (...) and its performance. Yet others, from the philosophy of sport, have focused on normative issues of fairness, rule application, and competition. The primary purpose of this article is to provide an overview of several different philosophical approaches to games and, hopefully, demonstrate the relevance and value of the different approaches to each other. Early academic attempts to cope with games tried to treat games as a subtype of narrative and to interpret games exactly as one might interpret a static, linear narrative. A faction of game studies, self-described as “ludologists,” argued that games were a substantially novel form and could not be treated with traditional tools for narrative analysis. In traditional narrative, an audience is told and interprets the story, where in a game, the player enacts and creates the story. Since that early debate, theorists have attempted to offer more nuanced accounts of how games might achieve similar ends to more traditional texts. For example, games might be seen as a novel type of fiction, which uses interactive techniques to achieve immersion in a fictional world. Alternately, games might be seen as a new way to represent causal systems, and so a new way to criticize social and political entities. Work from contemporary analytic philosophy of art has, on the other hand, asked questions whether games could be artworks and, if so, what kind. Much of this debate has concerned the precise nature of the artwork, and the relationship between the artist and the audience. Some have claimed that the audience is a cocreator of the artwork, and so games are a uniquely unfinished and cooperative art form. Others have claimed that, instead, the audience does not help create the artwork; rather, interacting with the artwork is how an audience member appreciates the artist's finished production. Other streams of work have focused less on the game as a text or work, and more on game play as a kind of activity. One common view is that game play occurs in a “magic circle.” Inside the magic circle, players take on new roles, follow different rules, and actions have different meanings. Actions inside the magic circle do not have their usual consequences for the rest of life. Enemies of the magic circle view have claimed that the view ignores the deep integration of game life from ordinary life and point to gambling, gold farming, and the status effects of sports. Philosophers of sport, on the other hand, have approached games with an entirely different framework. This has lead into investigations about the normative nature of games—what guides the applications of rules and how those rules might be applied, interpreted, or even changed. Furthermore, they have investigated games as social practices and as forms of life. (shrink)

Here I examine Bernard Suits’s definition of games and explain why that definition is in need of reference to representation or, put more generally, to semiosis. And, once admitting the necessity of the representational in games, Suits’s definition must also then admit the essential paradoxy of games.

By conceptualizing Sexual Selection, Darwin showed a way to analyze intra-specific individual differences within an evolutionary perspective. Interestingly, Sexual Selection is often used to investigate the origins of sports, arts, humor, religion and other phenomena that, in several languages, are simply called “play.” Despite their manifested differences, these phenomena rely on shared psychological processes, including playfulness. Further, in such behaviors there is usually considerable individual variability, including sex differences, and positive relationship with mating success. However, Sexual Selection is rarely applied (...) in the study of play, with exception to what is concerned as infant training behavior for adult sex roles. We offer an integrated grounding of playful phenomena aligning evolutionary propositions based on sexual selection, which might stimulate further exploration of playfulness within evolutionary perspective. (shrink)

Debates that revolve around the topic of morality and fiction rarely explicitly treat virtual worlds like, for example, Second Life. The reason for this disregard cannot be that all users of virtual worlds only do the right thing while online—for they sometimes even virtually kill each other. Is it wrong to kill other people in a virtual world? It depends. This essay analyzes on what it depends, why it is that killing people in a virtual world sometimes is wrong, and (...) how different virtual killings are wrong in different ways. I argue that killing people online is wrong if it is an instance of deliberately and non-consensually evoking disagreeable emotions in others. Establishing this conclusion requires substantial conceptual work, as virtual worlds feature new kinds of fictional agency, particular emotional responses to fiction, and unique ways in which the fiction of the virtual world relates to the wrongness of the killing. (shrink)

Although Machiavelli would appear to be only a minor figure in Foucault's genealogy of modernity, this article examines his 1977–1978 lectures at the Collège de France and argues that the author of The Prince plays a pivotal role in the development of ‘governmental reason’ and its critique. These lectures indicate how The Prince serves as the negative touchstone for the emergence of an extensive and evolving discourse on government, confirming that Machiavelli was more than a passing interest for Foucault. I (...) consider two ‘Anti-Machiavellian’ episodes in Foucault's genealogy as especially significant: the sixteenth-century discourses of the state and the eighteenth-century discourses of political economy. These moments are significant both in showing how the idea of government hinges on a repudiation of the political lessons of The Prince and in establishing the link between governmentality and another term so important for Foucault's thinking in this period – biopower. Finally, I show how the art of critique – or, what Foucault describes as ‘the art of not being governed quite so much’ – finds a timely resource in the figure of Machiavelli. (shrink)

This essay interprets Machiavelli’s famous letter to Francesco Vettori in terms of a play-element that runs across his works. The letter to Vettori is a masterpiece of epistolary form, but beyond its most memorable passage, where Machiavelli recounts his evening in study, it has not received much scholarly attention. Reading the letter in its entirety is to discover Machiavelli’s account of an eclectic political education and the pleasures of playing with others. Machiavelli’s letter speaks to a basic ludicity in his (...) political thinking, in which play is not opposed to the serious, and diverse play forms can be thought together. Hans-George Gadamer’s Truth and Method, Johan Huizinga’s Homo Ludens, and Roger Caillois’s Man, Play, and Games provide resources for reconstructing this play-element in Machiavelli’s thought. (shrink)

UNESCO in the 2030 agenda for sustainable development establishes respect for the environment and sustainability education as key elements for the challenges of society in the coming years. In the educational context, physical education can have a vital role in sustainability education, through Traditional Sporting Games. The aim of this research was to study from an ethnomotor perspective the different characteristics of two different groups of TSG in the Canary Islands, Spain. The corpus of this investigation was made up of (...) 513 TSG, identified by two analysis techniques and collected in a database. The categories corresponding to the variables of the internal logic of the game were the type of motor interaction, related to space, relationships with time, and relationships with objects. The study also examined the variables of external logic or sociocultural conditions such as the protagonists, playing areas, and game moments. The data analysis was carried out using descriptive and inferential statistics: cross-tables, effect sizes, classification trees, and the identification of frequency areas. Of the total number of playful activities identified, most were physical activities. These activities were Quasi-games without rules and TSG as well as activities with Objects and without material. This research confirms that the TSG in the Canary Islands is a mirror of traditional culture and, from a pedagogical approach, shows great potential for material and social sustainability. (shrink)

This article examines the well from which learning, teaching, and research originate. It investigates how to perform these three aspects of academic practice well and to do it in a playful manner. Instead of repeating existing knowledge and scientific methods punctiliously, the playful academic experiences and presents knowledge in new or alternative ways. Playfulness more often results in discoveries and inventions that are otherwise unthinkable. -/- Through an analysis of a selection of Plato’s myths, allegories, and imagery, the article demonstrates (...) how very complicated subject matters can be illustrated in a playful, synecdochic form, hereby making the unfathomable easier to approach and understand. -/- Examining Plato’s concept of ‘agalma’ – the beautiful ornament of wisdom – the article discusses how we can see academia as a jewellery box, or as a plaything. Agalma allows us to see learning, teaching, and research as an adventurous journey or as a playful labyrinth leading into all dimensions of being. (shrink)

In a historical perspective, what is novel about computer games is that they are not pure games but cultural objects which allow the playful desires identified by Caillois to be fused with craftsmanship, the desire to do a job well for its own sake (Sennett). Play is often defined in opposition to work, for example by Huizinga and Caillois, but craftsmanship has two qualities which can be found in both. Firstly, craftsmanship entails creative attention to the material at hand pleasurably (...) and patiently built up through rehearsal (cf. Sennett on “material consciousness”)—“creative” is used in a sense read from Bergson which is almost synonymous with “possibility-widening”. Secondly, craftsmanship entails the satisfaction of seeing the end result of one's labours. Both qualities are essential to human well-being (Marx, Sennett, Smith). (shrink)

Wittgenstein did not claim that the ordinary language concept ‘game’ cannot be defined: he claimed that there are multiple definitions that can be adopted for special purposes, but no single definition applicable to all games. I will defend this interpretation of Wittgenstein’s position by showing its compatibility with a pragmatic argumentative view of definitions, and how this view accounts for the diversity of disagreeing game definitions in definitional disputes.

The article is intended to reveal important similarities between fiction and sport. I build on Jonathan Gottschall’s discussion in The Storytelling Animal: How Stories Make Us Human by celebrating the significance of stories and their ‘witchy power’ and by examining factors that demonstrate similarities between fiction and sport. I suggest that an unmistakable semantic, structural, and cultural kinship exists between the two. This argument requires a discussion of play theory, play resources and constitutive rules, the semantic power of problems and (...) the uncertainty they produce, and the role of ‘frames’ in bringing problems to life. I conclude by noting the unique frame capabilities of ‘the big game’ and zero-sum dichotomous sporting motifs. (shrink)

Zero-sum aspects of sport have generated a number of ethical concerns and a similar number of defenses or apologetics. The trick has been to find a middle position that neither overly gentrifies sport nor inappropriately emphasizes the significance of winning and losing. One such position would have us focus on the process of trying to win over the fact of having one. It would also ameliorate any harms associated with defeat by pointing out that benefits like achievement, excellence, and moral (...) development are available to winner and loser alike. Relying on the notion of ‘frame’ introduced by Polanyi, I argue that this approach underplays the poignant drama of sport (including the sting of defeat) and thus, seeks redemption at too high a cost. I argue for a version of red-blooded competition that is justified more by transcendence than mitigation, more by a willingness to play again tomorrow than civility during any single contest. I analyze sport in terms of its receptivity to such repetition and find that epistemological uncertainty, enhanced by the presence of chance in sport, renders repeat engagements both sensible and attractive. I conclude that sport verdicts, unlike outcomes in war, business, and love, do not settle things. Rather they invite both winner and loser alike to ‘play again tomorrow’. (shrink)

While talking about sports (and games) we use such expressions as ?random victory?, ?winning by accident?, ?skill against luck?, ?chance (fortune) favours the better player?, etc. Unfortunately, chance-related notions that occur in these expressions are not well defined?their meaning is vague and it is not clear whether they refer to one or many different phenomena. Because such phenomena play an important role in sport, from the viewpoint of the philosophy of sport it is necessary to give a systematic account of (...) this topic. Although the works of De Wachter, Simon, Dixon, Breivik and Loland contain many important insights, there is still a room for further research in this field. The author tries to establish a typology of phenomena that could generally be called ?chance-phenomena?, which however, should be precisely distinguished. As such the primary task is to present an analysis of several different kinds of chance in sports. In constructing this typology the author uses both the distinction between different kinds of games (performative vs. kinetic) as well as analysis of structure of a game (four constitutive elements: players, constitutive rules, material substrate of the game and the world of the game). The most important method used is phenomenological analysis, especially Ingarden-style analysis. These kinds of ?chance-phenomena? are: aleatoriness, chaos, irregularity, imprecision and arbitrariness. The paradigm cases of each kind of chance are discussed. The genesis and functions of the respective phenomena in sports and games are also shown, as well as their position in the structure of the game. Such analytic work should precede any solutions of the chance vs. skill problem, or other problems concerning chance in sport. As a test of usefulness of the provided distinctions, the author considers the veracity of the judgements expressed in such sentences as ?Fortune favours the better player? (shrink)

This article argues that the computer game can be a locus of aesthetic form in contemporary culture. The context for understanding this claim is the decline of the artwork as bearer of form in the late 20th century, as this was understood by Adorno. Form is the enigmatic other of instrumental reason that emerges spontaneously in creative works and, in the modern era, is defined as that which makes them captivating and enigmatic yet resistant to analytic understanding. Clarification of the (...) ways in which form is at work in game play is sought from aesthetic theory (Kant), ludology (or theory of games), and the idea of a neo-baroque entertainment culture (Ndalianis). Kant emphasized the role of play in the constitution of imaginary realms associated with aesthetic pleasure. Ludology takes play as an anthropological given differentiated historically by the development of game structures. Neo-baroque theory postulates a labyrinthine, complex and de-centred entertainment culture, largely shaped by computing as a cultural practice. The article synthesizes insights from these perspectives and, drawing on ideas from Adorno and Benjamin, argues that computer games can occupy an oppositional or critical role within contemporary aesthetics and culture. Reflection on the constitutive processes of computer game play discloses a new place for instrumental reason within aesthetic experience, as the dialectic of form and analysis migrates from traditional art materials to digital electronics. (shrink)

This article analyzes the relationship between competition and justice in Adam Smith in order to determine to what extent competition can promote and undermine justice. I examine how competition features in two basic motivations for human action, “the propensity to truck barter and exchange,” and “the desire of bettering our condition.” Both can be traced back to the desire for recognition, but they operate in very different ways. The former manifests itself in social cooperation, chiefly commercial exchange and the division (...) of labor, and while it can take a competitive form, competitive success produces benefits for everyone. In contrast, the latter may manifest itself in win‐lose social competition. Commercial society harnesses both motivations, and both have negative as well as positive effects. However, while Smith explicitly addresses the negative effects of excessive specialization in the division of labor, it is less clear how he thinks the negative effects of social competition can be addressed. I argue that competition can undermine justice when (i) it pits people against each other and (ii) leads to psychological corruption. I conclude with some reflections on what a focus on competition adds to our understanding of Smith's work. (shrink)

I respond to a hypothetical critique of sport, drawing on primarily post-modernist sources, that would view the high performance athlete in particular as a product of the application of technical disciplines of power and that opposes sport and play as fundamentally antithetical. Through extensive discussion of possible definitions of play, and of performance, I argue that although much of the critique is valid it confuses a method of sport for the whole of it. Play is indeed a noncompellable spontaneity, but (...) one that involves the improvisational transformation of the technical skills of a sport within the context of a dynamic situation. Technique is a condition of heightened play; it does not produce it. This also means that the best play is not undisciplined. Play and sport can exist apart, but both are better combined. (shrink)

In the debate about actions in virtual environments two interdependent types of question have been pondered: What is a person doing who acts in a virtual environment? Second, can virtual actions be evaluated morally? These questions have been discussed using examples from morally dubious computer games, which seem to revel in atrocities. The examples were introduced using the terminology of “virtual murder” “virtual rape” and “virtual pedophilia”. The terminological choice had a lasting impact on the debate, on the way action (...) types are assigned and on how moral evaluation is supposed to be conducted. However, this terminology and its theoretical consequences, while sometimes resulting in correct results, lead to absurd results when applied across the board. It will be suggested that these absurd consequences can be avoided by a different answer to the question what people in virtual worlds are doing. Alleged virtual actions are first and foremost the creation and modification of data-structures and the resulting output in computer hardware. Such modifications of data structure and imagery can be performed with different intentions, purposes and styles, which will influence the type and moral evaluation of a user’s actions. This reinterpretation allows for a more complex analysis of the moral reasons for praiseworthiness or blameworthiness of actions in virtual environments. This analysis takes not just harm and effects on character into account but the peculiar ways in which speech acts can be morally wrong: e.g. agitatory, deceptive, bullshitting. (shrink)

According to Eugen Fink, a thorough elucidation of the meaning of play has the capacity to lead us towards an understanding of the world as a totality. In order to go beyond Plato’s understanding of play as an inferior copy of serious action, Fink provides an analysis of the cultic game. This form of playing cannot be said to be the origin of all play, but it enables us to demonstrate how the act of playing transcends circumscribed beings inside the (...) world and provides a relationship with a higher whole, in which the community participating in the play is encompassed. A masked shaman does not represent a particular god, but brings to presence the action of gods upon humans as such. Thus, the cultic game is a symbol of a more important reality, not an inferior representation of an individual reality. This, however, is still not a sufficiently radical interpretation of the ontological dimension of play: the whole is only understood as an action of gods, i.e. mediately. Fink strives to demonstrate on the cont... (shrink)

Eugen Fink’s interpretation of play is virtually absent in the current philosophy of sport, despite the fact that it is rich in original descriptions of the structure of play. This might be due to Fink’s decision not to merely describe play, but to employ its analysis in the course of an elucidation of the ontological problem of the world as totality. On the other hand, this approach can enable us to properly evaluate the true existential and/or ontological value of play. (...) According to Fink, by integrating beings into the imaginary play-world, we become able to transcend mere circumscribed individual entities and encounter reality as such in a new, more profound way. This positive ontological value of play is, however, forgotten because the imaginary dimension of play is traditionally interpreted as a virtual imitation of a model reality which already actually exists somewhere else. For this reason, Fink returns to the Platonic interpretation of play, which laid the foundations for this understanding, and... (shrink)

Though many scholars have made claims as to the nature of sport, this article argues that these claims tend to narrowly focus on modern ideas derived primarily from Western competitive sport. Thus, most notions of sport fail to capture how various historical and non-Western cultures valued sport. In an attempt to provide a broader and more durable description of the nature of sport, this article argues that sports are fundamentally about telling a story about ourselves. These stories are meaningful narratives. (...) Meaningful narratives, the article argues, exist in three ways: the individual, the collaborative, and the collective. By seeing sport as inherently about ‘a story we tell ourselves about ourselves’, the article concludes that not only do philosophers realize a more complete understanding of what sport is about but also receive and apply this understanding to normative debates within sport ethics. (shrink)

This essay explores the features in virtue of which games are valuable or worthwhile to play. The difficulty view of games holds that the goodness of games lies in their difficulty: by making activities more complex or making them require greater effort, they structure easier activities into more difficult, therefore more worthwhile, activities. I argue that a further source of the value of games is that they provide players with an experience of freedom, which they provide both as paradigmatically unnecessary (...) activities and by offering opportunities for relatively unconstrained choice inside the ‘lusory’ world that players inhabit. (shrink)

Through a phenomenological study of horse-human relations, this article explores the ways in which, as embodied beings, we live relationally, rather than as separate human identities. Conceptually this challenges oppositional logic and humanist assumptions, but where poststructuralist treatments of these issues tend to remain abstract, this article is concerned with an embodied demonstration of the ways in which we experience a relational or in-between logic in our everyday lives.

ABSTRACTEven though many sport philosophers have worked to delineate clear definitions of play and games, typical language usage often conflates the two phenomena and even provides an undue normati...

ZusammenfassungDer vorliegende Artikel widmet sich der Frage, wie Spiele und spielen zur Big-Data-basierten Wissensproduktion in der Hochenergiephysik beitragen. Als Beispiel dienen Detektorkollaborationen am Large Hadron Collider der Europäischen Organisation für Kernforschung, in denen die Autorin seit 2014 kulturanthropologische Feldforschung unternommen hat. Der ludische Aspekt der Wissensproduktion wird hier in drei verschiedenen Dimensionen analysiert: der symbolischen, der ontologischen und der epistemischen. Erstere verweist auf das CERN als Ort, an dem ein kosmologisches Wahrscheinlichkeitsspiel mithilfe von Monte-Carlo-Simulationen durchgeführt wird. Die Zweite wird durch (...) kompetitive Infrastrukturen in der Arbeitspraxis verschiedener Kollaborationsgruppen sichtbar. Die dritte Dimension entfaltet sich durch ludische Plattformen, wie etwa Online Challenges und Citizen Science Games, die zur Entwicklung von machine learning algorithmen beitragen, deren Funktion notwendig ist, um die ungeheuren Mengen an Big Data verarbeiten zu können, die durch die Experimente gesammelt werden. Das CERN wird als Ort des Deep Play beschrieben, einem von Clifford Geertz entwickeltem Konzept, das dazu beiträgt, größere soziale und kulturelle Ordnungen durch die Analyse ludischer Kollektivphänomene zu begreifen. Der Artikel setzt sich darüber hinaus mit Peter Galisons Idee der Trading Zone auseinander und schlägt vor, diese in Zeiten von Big Data als Playground zu begreifen. Die Autorin hofft damit zu einer breiteren sozio-historiografischen Diskussion in den Science and Technology Studies und nicht zuletzt der Kulturanthropologie beizutragen, indem das Ludische in den Wissenschaften als zentrales Element für das Verständnis kollaborativer Wissensproduktion begriffen wird. (shrink)

Why do we seek out and enjoy uncertain success in playing games? Game designers and researchers suggest that games whose challenges match player skills afford engaging experiences of achievement, competence, or effectance—of doing well. Yet, current models struggle to explain why such balanced challenges best afford these experiences and do not straightforwardly account for the appeal of high- and low-challenge game genres like Idle and Soulslike games. In this article, we show that Predictive Processing provides a coherent formal cognitive framework (...) which can explain the fun in tackling game challenges with uncertain success as the dynamic process of reducing uncertainty surprisingly efficiently. In gameplay as elsewhere, people enjoy doing better than expected, which can track learning progress. In different forms, balanced, Idle, and Soulslike games alike afford regular accelerations of uncertainty reduction. We argue that this model also aligns with a popular practitioner model, Raph Koster’s Theory of Fun for Game Design, and can unify currently differentially modelled gameplay motives around competence and curiosity. (shrink)

Gamification is increasingly being proposed as a strategy to increase engagement for mental health and wellbeing technologies. However, its implementation has been criticized as atheoretical, particularly in relation to behavior change theory and game studies theories. Definitions of the term “gamification” vary, sometimes widely, between and within academic fields and the effectiveness of gamification is yet to be empirically established. Despite this, enthusiasm for developing gamified mental health technologies, such as interventions, continues to grow. There is a need to examine (...) how best to implement gamification in mental health and wellbeing technologies in a way that takes quick production cycles into account while still emphasizing empirical investigation and building a rigorous evidence base. With reference to game studies and the medical literature, this article interrogates gamification for mental health and wellbeing by examining core properties of the game form. It then explores how gamification can best be conceptualized and implemented for mental health and wellbeing goals from conceptualization through to iterative co-development and evaluation that accommodates software development schedules. Finally, it summarizes its conceptual analysis into recommendations for researchers and designers looking to do so. These recommendations are: assess suitability, implement to support, assess acceptability, evaluate impact, and document comprehensively. These recommendations aim to encourage clear language, unified terminology, the application and evaluation of theory, comprehensive and constant documentation, and transparent evaluation of outcomes. (shrink)

Fantasy sports have become a major sector of our sport industry. With millions of participants worldwide and billions of dollars generated, fantasy sports have become a fixed part of our sport spectatorship. However, this prevalence has come without much intellectual investigation. Therefore, in this paper I discuss the metaphysics and ethics of fantasy sports. After providing arguments for the consistency of fantasy sports with prominent descriptions of play and games, I compare fantasy sports to other genres of play and games (...) ? sports, card games, ?cybersports?, and spectatorship. After this juxtaposition, I delineate how fantasy sports are different from their real sport correlates. Fantasy sports are second-order games that are parasites of their real-sport counterparts. The differences between fantasy and real sports change our collective cultural views of the correlating real sports. While much good comes from the popular participation in fantasy sports, there are also drawbacks. That is, while fantasy sports participants tend to be more engaged spectators of sports, they also tend to only focus on particular, sensationalized aspects of the sports to which their fantasy ownership correlates. (shrink)

This article, corresponding to a part of the restitution of a financed international research project between France, Brazil, Canada, Italy and Belgium, aims to offer a modelisation and qualitative evaluation of mediation care settings based on an original methodological tool that involves identifying the typical games at the foundations of creativity, following a multidisciplinary perspective. Therapeutic mediations are settings or devices organised around a “pliable medium”, often artistic, like painting, modeling, writing, ​and theatre, which are very widespread in institutional practices, (...) both in France and abroad. The scientific objectives of this research consist in a multi-disciplinary exploration (anthropology, criminology, neuroscience, clinical psychology) of the process of creative symbolisation understood as a process of transformation involving play. According to this orientation, play can be defined as a psychic process whereby a subjective experience can be explored with pleasure, and consequently symbolised and appropriated. Our fundamental and original hypothesis is that play is at the source of the creative process, conceived as a work of metabolisation by the psyche of playful experiences during the different stages of life. The review of the understanding of play in psychoanalysis, anthropology, criminology and neuroscience emphasises the richness of this model and the importance of reflecting on the typical games in the field of psychic care. A clinical example of treatment in a pictorial therapeutic mediation setting of a child with psychotic disorders makes it possible to identify a number of typical games as well as the modalities of interpretation of the therapists through play. These multidisciplinary studies lead to the presentation of a general table of typical games, and these first results highlight the richness of identifying typical games in clinical settings. Ultimately, the multidisciplinary approach shows the interest of the model of play in the evaluation of therapeutic mediation settings, with a convergence of the different disciplines emphasising the pertinence of this model. The scientific impact of this research overlaps with its societal impact, through the development of innovative tools for evaluating therapeutic mediations, in order to take account of the evolution of the different forms of social expression of psychic suffering. (shrink)