Thi Nguyen develops the view that games are, at least potentially, works of art that afford players the opportunity to experiment with agency and have aesthetically significant experiences. In this paper, I critically discuss this proposal. You can make art out of games, I argue, but only at the price of making bad games. I explore the significance of this rivalry between games and art.

This is my reply to commentators in the symposium on my book, GAMES: AGENCY AS ART. The symposium features commentary by Thomas Hurka, Quill Kukla, and Alva Noe, and originally appeared in Analysis 81 (2).

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)

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)

The aim of this dissertation is to offer a new theory of humor that takes seriously both the universality and power of humor in culture. In the first chapter, I summarize historical and contemporary theories, and show how each either 1) fails to give any definition of humor, 2) fails as a theory of humor, and/or 3) underappreciates, dismisses, or does not consider the power of humor in experience. The second chapter explains the failures of prior theories by understanding the (...) problem in terms of Ernst Cassirer’s philosophy of symbolic forms. These forms of culture are perspectives through which we express and understand our world, and each presents its own unique perspectives through which we can understand ourselves and the world. In the third chapter, I argue that humor is one of these necessary and universal symbolic forms of culture. I argue that confusions in the philosophy of humor stem from approaches to humor that understand it as part of some other symbolic form rather than as a form itself. In the fourth chapter, I argue for the function of humor as that which reveals and exposes epistemic vices –laziness, arrogance, and closed-minded thinking about ourselves and the world. I support this argument by showing not only that all previous theories of humor have within them epistemic revelation as a consistent commonality, but also by showing that this revelation is necessary to the form of humor while it is, at best, accidental to other forms. In my final chapter, I suggest that we ought to approach humor objectively, and that the normativity of the symbolic forms guides us toward such an approach. I offer two objective questions to ask about a given instance of humor: 1) does the humor idealize a liberated end? and 2) does the humor fulfil the cultural function of the symbolic form it represents by disrupting epistemically vicious thinking? If the answer to both of these questions is affirmative, then it is likely that the humor in question is morally praiseworthy. I conclude by offering suggestions for further study. (shrink)

Hegel and Heidegger are leading figures of modern philosophy, but their interpretation of being, metaphysics, truth, ontology, epistemology, dialectic, alienation and art, among other central questions of philosophy, are radically different. Taking these aspects into account, my paper tries to dismiss Heidegger’s critiques towards Hegel arguing that, from the point of view of 20th century phenomenology, and although using a dissimilar philosophical vocabulary, Hegel was rather a phenomenologist than a metaphysician. Not only that: in many respects, Heidegger’s Dasein toys with (...) metaphysic to an extent that Hegel’s spirit never did. (shrink)