Wittgenstein emphasizes two points concerning his notion of family resemblance. One is that the use of a family resemblance expression resists characterization by certain kinds of rules; the other is that due to the prevalence of family resemblance in the philosophical lexicon, philosophical inquiry must in many cases proceed differently from how it traditionally has. This paper develops an interpretation of family resemblance that seeks to do justice to these claims. I argue that what is characteristic about family resemblance expressions (...) is not that they exhibit a basic semantic feature unique to themselves, but that they combine a number of semantic properties that happen not to be coinstantiated elsewhere. These features include (1) content variability (also a property of ambiguous expressions, polysemes, and standard indexicals), (2) a feature I call "topicality" (which is also a characteristic of polysemes), and (3) "semantic openness" (a feature of many ordinary indexicals). The notions of topicality and semantic openness are explained, and certain terms of natural language are shown to be family resemblance expressions. I conclude by indicating some of the potential philosophical ramifications of these results. (shrink)

It will be seen how in place of the wealth and poverty of political economy come the rich human being and rich human need. The rich human being is simultaneously the human being in need of totality of human life-activities — the man in whom his own realization exists as an inner necessity, as need. Marx, Economic and Philosophical Manuscripts of 1844 Svetaketu abstained from food for fifteen days. Then he came to his father and said, `What shall I say?' (...) The father said: `Repeat the Rik, Yagus, and Saman verses.' He replied, `They do not occur to me, Sir.' The father said to him... `Go and eat! Then wilt thou understand me.' Then Svetaketu ate, and afterwards approached his father. And whatever his father asked him, he knew it all by heart.... After that, he understood what his father meant when he said: `Mind, my son, comes from food, breath from water, speech from fire.' He understood what he said, yea, he understood it. Chandogya-Upanishad, VI Prapathaka, 7 Kanda When you love a man you want him to live and when you hate him you want him to die. If, having wanted him to live, you then want him to die, this is a misguided judgment. `If you did not do so for the sake of riches, you must have done so for the sake of novelty.' Confucius, Analects, Book 12. 10. (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)

Some time ago, an Innocent Bystander, after glancing through a copy of Mind , asked me, ‘Why do philosophers talk so much about Games? Do they play them a lot or something?’.

If, as many suppose, pornography changes people, a question arises as to how.1 One answer to this question offers a grand and noble vision. Inspired by the idea that pornography is speech, and inspired by a certain liberal ideal about the point of speech in political life, some theorists say that pornography contributes to that liberal ideal: pornography, even at its most violent and misogynistic, and even at its most harmful, is political speech that aims to express certain views about (...) the good life, 2aims to persuade its consumers of a certain political point of view—and to some extent succeeds in persuading them. Ronald Dworkin suggests that the pornographer contributes to the ‘moral environment, by expressing his political or social convictions or tastes or prejudices informally’, that pornography ‘seeks to deliver’ a ‘message’ , that it reflects the ‘opinion’ that ‘women are submissive, or enjoy being dominated, or should be treated as if they did’, that it is comparable to speech ‘advocating that women occupy inferior roles’.3 Pornography on this view is political speech that aims to persuade its listeners of the truth of certain ideas about women, and of course ‘the government must leave to the people the evaluation of ideas’.4 Another answer offers a vision that is not grand and noble, but thoroughly reductive. Pornography is not politically persuasive speech, but speech that works by a process of psychological conditioning. This view seems common enough in the social science literature. Consider, for example, this description of an early experiment, from a time that pre-dates contemporary political debate. (shrink)

I here defend the thesis that the best life is the life that one plays as a game—specifically, a ‘Suitsian’ game that meets the definition proposed in The Grasshopper by Bernard Suits. Even more specifically, it is a nested, open, role-playing game where the life’s quality as a game partly depends on there being no more people than players. To defend this thesis I refute two powerful challenges to it, one from Thomas Hurka (2006) and another from within The Grasshopper (...) itself. In the process, I offer a new interpretation of that enigmatic and challenging book. (shrink)

Using Bernard Suits’s brilliant analysis (contra Wittgenstein) of playing a game, this paper examines the intrinsic value of game-playing. It argues that two elements in Suits’s analysis make success in games difficult, which is one ground of value, while a third involves choosing a good activity for the property that makes it good, which is a further ground. The paper concludes by arguing that game-playing is the paradigm modern (Marx, Nietzsche) as against classical (Aristotle) value: since its goal is intrinsically (...) trivial, its value is entirely one of process rather than product, journey rather than destination. (shrink)

In §66 ofPhilosophical Investigations Wittgenstein looks for something common to various games and finds only an interconnecting network of resemblances. These are family resemblances. Sympathetic as well as unsympathetic readers have interpreted him as claiming that games form a family in virtue of these resemblances. This assumes Wittgenstein inverted the relation between being a member of a family and bearing family resemblances to others of that family. (The Churchills bear family resemblances to one another because they belong to the same (...) family, they don't belong to the same family because they resemble one another.) A close reading ofInvestigations gives no evidence that Wittgenstein made this mistake. Rather, family resemblances may play a role like the one criteria play for psychological terms. They give excellent but fallible evidence for membership in the extensions of some terms. (shrink)