Debate over the normativity of virtual phenomena is now widespread in the philosophical literature, taking place in roughly two distinct but related camps. The first considers the relevant problems to be within the scope of applied ethics, where the general methodological program is to square the intuitive (im)permissibility of virtual wrongdoings with moral accounts that justify their (im)permissibility. The second camp approaches the normativity of virtual wrongdoings as a metaphysical debate. This is done by disambiguating the ‘virtual’ character of ‘virtual (...) wrongdoings’. Doing so is supposed to provide illuminating ontological distinctions that inform ethical aspects of the debate. We argue that each approach faces its own set of issues, and as a result, motivates consideration of an alternative. The alternative we suggest turns inquiry concerning the normativity of virtual wrongdoings into a distinctively conceptual question. Rather than asking whether some action is right or wrong, or whether some virtual phenomenon counts as a particular action at all, we argue that research into the normativity of virtual wrongdoings may be guided by reflecting on whether a concept that originated and developed within a non-virtual context should be exported into a foreign virtual domain. We consider this approach and several objections. (shrink)

In a recent paper, Kevin Krein argues that the notion of self-competition is misplaced in adventure sports and of only limited application altogether, for two main reasons: (i) the need for a consistent and repeatable measure of performance; and (ii) the requirement of multiple competitors. Moreover, where an individual is engaged in a sport in which the primary feature with which they are engaged is a natural one, Krein argues that the more accurate description of their activity is not 'competition', (...) but an attempt at harmonious interaction. I raise a number of problems against both criteria and argue that traditional and adventure sports do both involve self-competition on at least two levels: bettering one's previous performance and resisting the desire to quit. I argue that self-reflexive competition is not so much with one's self (which is philosophically absurd), but within one's self, between conflicting motivations and desires. I explore what is involved in self-reflexive competition, particularly at a phenomenological, self-constituting level, and raise the question of whether it is appropriate for activity in wilder natural environments. (shrink)

This paper explores ludonarrative dissonance as it occurs in sport, primarily as the conflict experienced by participants between dominant narratives and self-generated interpretations of embodied experience. Taking self-narrative as a social rather than isolated production, the interaction with three basic categories of dominant narrative is explored: transformative, representing a spectrum from revelatory to distorting, bullying and colonising. These forms of dominant narrative prescribe interpretations of the player’s experience of play and of self that displace their own, with the end result (...) of dissonance and self-alienation. (shrink)

This paper argues against the conception of sport as theatre. Theatre and sport share the characteristic that play is set in a conventionally-defined hypothetical reality, but they differ fundamentally in the relative importance of audience and the narrative point of view. Both present potential for participants for development of selfhood through play and its personal possibilities. But sport is not essentially tied to audience as is theatre. Moreover, conceptualising sport as a form of theatre valorises the spectator’s narrative as normative (...) for sport experience over that of the participant athlete or player, eliding player experience. Imposition of external narratives over experience risks fossilising interpretation and inhibits the beneficial effects of play for self-realisation, especially as a form of self-examination and creation through internal self-narrative. (shrink)

The purpose of this paper is to study the expressive part of game performance in soccer by introducing the concept of theatricality to describe a special form of expression. The aim is to contribute to the understanding of game performance by looking into the appearance, role and value of theatricality. The main argument of the paper is that theatricality can describe an important, but rarely noticed performance aspect, as it provides a unifying concept for expressive distancing in four dimensions of (...) the players? life-worlds: the subjective, intersubjective, collective and institutional. By explicating the value of this kind of expression in soccer the paper can provide a philosophical basis for including theatricality in performance and development strategies. (shrink)