The authors attempt to speculatively reconstruct the concept of the “So­viet computer game”. They propose to consider gaming practices associ­ated with computers as a derivative of the accepted ideological guidelines that accompany the Soviet project of machine modernization. Within this framework, the concept of the Soviet computer game appears as an unre­alized historical alternative to the normative game design that has devel­oped in countries with market economies. Despite the industry — or the electronic entertainment market — not having (...) had the time to be properly established in the USSR, there were a number of discursive attitudes re­garding the game as such, and the gaming function of computing devices in particular. Even early Soviet pedagogical theories assumed that “playing like a Soviet” involves performing activities structurally similar to labor, where the player becomes part of production. Later, cybernetic discourse, through game theory, indicated the possibility of formalizing any prag­matic activity as a game model; with the advancement of programming, the pragmatics of digital gaming as a way of educating and solving utili­tarian tasks was developed. Based on the memoir archive of Soviet cyber­netics, and publications in the late-Soviet press, the authors demonstrate that the Soviet computer game was not seen an entertainment product, but a representative model for solving problems in an algorithmic form. Thus, the article is not about specific games that could be called Soviet, but about the logic that guided and set the tone for the interpretation of certain computer-game phenomena in the USSR. (shrink)

In response to the ever-increasing spread of online disinformation and misinformation, several human–computer interaction tools to enhance data literacy have been developed. Among them, many employ elements of gamification to increase user engagement and reach out to a broader audience. However, there are no systematic criteria to analyze their relevance and impact for building fake news resilience, partly due to the lack of a common understanding of data literacy. In this paper we put forward an operationalizable definition of data (...) literacy as a form of multidimensional critical thinking. We then survey 22 existing tools and classify them according to a framework of 10 criteria pointing to their gameful design and educational features. Through a comparative/contrastive analysis informed by a focus group, we provide a principled set of guidelines to develop more efficient human–computer interaction tools to teach how to critically think in the current media ecosystem. (shrink)

This paper provides an overview of creating games for change from within an academic context, focusing specifically on the development of educational computer games for middle school girls. The essay addresses larger issues such as the cultural importance of computer games, the difficulty in categorizing a diverse user group such as “girls,” and the ways in which one could design game goals to promote diverse play and learning styles. Through such alternate design strategies, both media (...) makers and students can incorporate significant social intervention into media work. (shrink)

Persons with aphasia suffer from a loss of communication ability as a consequence of a brain injury. A small strand of research indicates effec- tiveness of dialogic interventions for communication development for persons with aphasia, but a vast amount of research studies shows its effectiveness for other target groups. In this paper, we describe the main parts of the hitherto technological development of an application named Dialogica that is (i) aimed at facilitating increased communicative participation in dialogic settings for persons (...) with aphasia and other communication disorders, (ii) based on comput- er game technology as well as on theory in dialogic education and argumenta- tion theory, and (iii) designed for mobile devices with larger screens. (shrink)

The world is in crisis. We, the people of the world, are all connected. We rely on each other to make ethical decisions and to solve thorny civic problems, together. Ethics and civics have always mattered, but perhaps now more than ever, we are starting to realize how much they matter. Teaching ethics and civics is essential to our future. This book argues that games can encourage the practice of ethics and civics. They help us to connect, deliberate, and (...) reflect. They help us to flourish. They help us to reimagine our world. Games are communities and public spheres. Like all communities, they may support care, understanding, and problem solving. And, they may also incite hate, disinformation, and toxicity. Games reveal humanity's compassion as well as its cruelty. Games reveal our complexity. We the Gamers provides research-based perspectives related to why and how we should play, make, and use games in ethics, civics, character, and social studies education. This book systematically evaluates how to use games in classrooms, remote learning environments, and other educational settings, with consideration to different audiences and standards. This book also provides tips and guidelines, as well as timely resources, examples, and case studies. It includes examples of all different types of games-virtual reality, mobile, card games, and computer games, big budget commercial games, indie games, and more. (shrink)

This paper examines how young peoples’ lived experiences with personal technologies can be used to teach engineering ethics in a way which facilitates greater engagement with the subject. Engineering ethics can be challenging to teach: as a form of practical ethics, it is framed around future workplace experience in a professional setting which students are assumed to have no prior experience of. Yet the current generations of engineering students, who have been described as ‘digital natives’, do however have immersive personal (...) experience with digital technologies; and experiential learning theory describes how students learn ethics more successfully when they can draw on personal experience which give context and meaning to abstract theories. This paper reviews current teaching practices in engineering ethics; and examines young people’s engagement with technologies including cell phones, social networking sites, digital music and computer games to identify social and ethical elements of these practices which have relevance for the engineering ethics curricula. From this analysis three case studies are developed to illustrate how facets of the use of these technologies can be drawn on to teach topics including group work and communication; risk and safety; and engineering as social experimentation. Means for bridging personal experience and professional ethics when teaching these cases are discussed. The paper contributes to research and curriculum development in engineering ethics education, and to wider education research about methods of teaching ‘the net generation’. (shrink)

The return of a classic book about games and play that illuminates the relationship between the well-played game and the well-lived life. In The Well-Played Game, games guru Bernard De Koven explores the interaction of play and games, offering players—as well as game designers, educators, and scholars—a guide to how games work. De Koven's classic treatise on how human beings play together, first published in 1978, investigates many issues newly resonant in the era of video and (...) computer games, including social gameplay and player modification. The digital game industry, now moving beyond its emphasis on graphic techniques to focus on player interaction, has much to learn from The Well-Played Game. De Koven explains that when players congratulate each other on a “well-played” game, they are expressing a unique and profound synthesis that combines the concepts of play (with its associations of playfulness and fun) and game (with its associations of rule-following). This, he tells us, yields a larger concept: the experience and expression of excellence. De Koven—affectionately and appreciatively hailed by Eric Zimmerman as “our shaman of play”—explores the experience of a well-played game, how we share it, and how we can experience it again; issues of cheating, fairness, keeping score, changing old games (why not change the rules in pursuit of new ways to play?), and making up new games; playing for keeps; and winning. His book belongs on the bookshelves of players who want to find a game in which they can play well, who are looking for others with whom they can play well, and who have discovered the relationship between the well-played game and the well-lived life. (shrink)

Using educational robots to integrate computational thinking with cross-disciplinary content has gone beyond Science, Technology, Engineering, and Mathematics, to include foreign-language learning and further cross-context target-language acquisition. Such integration must not solely emphasise CT problem-solving skills. Rather, it must provide students with interactive learning to support their target-language interaction while reducing potential TL anxiety. This study aimed to validate the effects of the proposed method of pair programming along with question-and-response interaction in a board-game activity on young learners’ CT skills (...) and TL learning across contexts. Two Grade 6 classes, one with 16 students who were studying Chinese as a Second Language and the other with 16 students who were studying English as a Foreign Language, participated in the activity. A series of instruments on achievement assessment, questionnaires on CT skills and TL anxiety, and sequential learning behaviour analysis were used to critically examine the results. The main conclusion is that the EFL group showed better social skills of cooperation on CT and lower TL learning anxiety, while the CSL group demonstrated better problem-solving skills in CT, but presented more behaviours of trial-and-error loops. Results not only contribute suggestions for cross-disciplinary learning but also provide support for cross-context instruction beyond educational coursework. (shrink)

There is growing consensus that teaching computer ethics is important, but there is little consensus on how to do so. One unmet challenge is increasing the capacity of computing students to make decisions about the ethical challenges embedded in their technical work. This paper reports on the design, testing, and evaluation of an educational simulation to meet this challenge. The privacy by design simulation enables more relevant and effective computer ethics education by letting students experience and make (...) decisions about common ethical challenges encountered in real-world work environments. This paper describes the process of incorporating empirical observations of ethical questions in computing into an online simulation and an in-person board game. We employed theValues at Playframework to transform empirical observations of design into a playable educational experience. First, we conducted qualitative research to discover when and how values levers—practices that encourage values discussions during technology development—occur during the design of new mobile applications. We then translated these findings into gameplay elements, including the goals, roles, and elements of surprise incorporated into a simulation. We ran the online simulation in five undergraduate computer and information science classes. Based on this experience, we created a more accessible board game, which we tested in two undergraduate classes and two professional workshops. We evaluated the effectiveness of both the online simulation and the board game using two methods: a pre/post-test of moral sensitivity based on the Defining Issues Test, and a questionnaire evaluating student experience. We found that converting real-world ethical challenges into a playable simulation increased student’s reported interest in ethical issues in technology, and that students identified the role-playing activity as relevant to their technical coursework. This demonstrates that roleplaying can emphasize ethical decision-making as a relevant component of technical work. (shrink)

This article focuses on how biblical content and spiritualities can be communicated, probably more effectively, to (late) preschool children by using information technology, which has already been implemented successfully for years in secular and religious environments. Because children enjoy listening to stories, watching cartoons and playing every day, the approach in this research will be to propose a particular construct to communicate biblical content to preschool children. This construct comprises interactive storytelling, cartoon animation and educational gaming, which constitute a trilogy (...) for teaching biblical content and principles to preschool children. This should be done interactively. These three approaches have become fundamental designs and presentations in child education. Churches, Christian nurseries and other Christian educators, in general, are encouraged to develop computer programs according to the construct and strategy proposed in this article for the teaching of the Gospel to late preschool children. The approach in this article will be, firstly, to examine and explore the religious orientation of preschool children and, secondly, to validate and propose how computer technology can be implemented to communicate the biblical content to preschool children via the trilogy of interactive storytelling, cartoon animation and educational gaming in an uninterrupted experience. Contribution: This article argues that the use of interactive storytelling, cartoon animation and educational gaming should be used consecutively and uninterruptedly to communicate the biblical message to preschool children. This is probably the most effective way to keep the attention of these children and to affect their conduct. (shrink)

Can video games teach students about the history and philosophy of science? This paper reports the results of a study investigating the effects of playing an educational video game on students’ knowledge of Galileo’s life and times, the nature of scientific evidence, and Aristotle’s and Galileo’s views of the cosmos. In the game, students were immersed in a computer simulation of 16th century Venice where they interacted with an avatar of Galileo and other characters. Over a period of (...) two weeks, 71 undergraduates were exposed to lectures about Galileo and the Copernican revolution in a traditional classroom setting. However, only half of the students also played the game. The other half were only exposed to lectures. The knowledge of both groups was assessed at the beginning and end of the two-week period. The results demonstrated objective improvements in knowledge for the experimental group while the control group showed virtually no change. Implications of these findings for teaching and learning the history and philosophy of science are discussed. (shrink)

A survey on computer use was conducted on 152 college students majoring in elementary education. The students used computers an average of 11.8 hours per week. The uses included academic uses such as writing papers and conducting research over the Internet, as well as leisure uses such as chatting, playing games, and cruising the Web. A strong correlation is seen between the number of hours a student spends on the computer for academics and the number of (...) hours spent on the computer for nonacademics. The students “waste” an average of 4.5 hours per week on the computer, which is less than half the time they spend watching television. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 40.4 (2006) 21-38 MuseSearchJournalsThis JournalContents[Access article in PDF]Attractions to Violence and the Limits of EducationPaul DuncumThe effects of violent media fare upon young people are of great concern for educators and parents alike. Recently, some visual art educators have attempted to deal with the issue under the rubric of visual culture. 1 Adopting a critical position toward media violence, they have developed programs (...) that attempt to encourage in their students a view of citizenship that rejects an easy use of violence as the solution to resolving real life issues. In consideration of these attempts, this article examines media violence—not to comment upon the efforts of other art educators but to point to the exceptionally difficult, perhaps intractable, forces faced by any form of educational intervention.There can be no doubting that violence—defined as involving intentional physical harm—is highly popular in mass media entertainment and is increasingly gory. Tartar refers to Shakespeare's term "violent delights" 2 as an oxymoron, but delight in violence is exactly what many people appear to find. There appears to be no contradiction in Shakespeare's term—Shakespeare being no stranger to the idea—only a succinctly expressed observation of a particular taste that is both long-standing and nowadays evident in an increasingly visceral, violent mass media.This article addresses three questions: First, what is it about displays of violence that is so appealing? Where is the pleasure in watching bodies being blown apart? Where is the delight in watching barbarous torture, slaughter, and death? What is the lure, the attraction? Or, since one of my arguments will be that there are qualitatively different kinds of violence, is it more appropriate to ask what are the attractions of violence? Second, why are violent spectacles becoming more and more intense? Why are representations of violence becoming increasingly visceral? Third, what are we doing to ourselves by exposing ourselves to so much violent mass media? [End Page 21] What is the societal significance, the real world consequences, of being attracted to violent imagery?There are many kinds of violent spectacles. This article deals exclusively with violence in current mediated popular forms of entertainment, principally television, film, video, and computer games. It is not narrowly concerned with intentionally aestheticized images, for example, through the use of slow motion or when the soundtrack to images of mass slaughter switches from the mayhem on screen to the souring beauties of operatic singing. Such images are included here, but the article deals with an inclusive range of representations of violence typically found in some degree to be pleasurable by large sections of the public. Specifically, four kinds of violence are examined: comic, transgressive, retaliatory, and gratuitous.Of course, not everyone is attracted to violence, and most popular entertainment is not violent. 3 The best-selling video games are violent, 4 but violent films and videos are far outweighed by nonviolent fare, especially comedies. 5 Nevertheless, much media fare is violent. Studies conducted in the mid-to-late 1990s concluded that 60 percent of U.S. television programs contained violence, 40 percent of which was offered as humorous. 6 By the age of eighteen a child has seen around 200,000 violent acts on television, including 40,000 murders. 7 This includes 3 to 5 violent acts per hour on prime time and 20 to 25 per hour during Saturday morning cartoons.Sensory AttractionProfessional critics of film and video often talk about the aesthetic qualities of media violence—for example, of "balletic spectacle" and "orgiastic energy." 8 The New York Times film critic's review of Sam Peckinpah's 1969 film The Wild Bunch, a milestone in cinematic violence, wrote of the climatic massacre as a "blood ballet" and that the director "first highlights the horror of the mindless slaughter and then—and this is what really carries horror—makes it beautiful, almost abstract." 9 Virtually the same words were used recently by eminent U.S. film critic Roger Ebert with regard to Tarrantino's exceptionally... (shrink)

Interactive Video (IV) is now firmly established as a training tool in commerce and industry; the electronic maintenance manual is gaining ground; IV is making inroads into marketing strategies, as a point of sales device; any respectable amusement arcade will have at least one interactive video game; and of course the allied technologies of compact sound disc and CD ROM are both beginning to revolutionise their respective fields of information storage and dissemination.This paper concentrates on the specific problem of Interactive (...) Video and its associated computing requirements in the fields of education and training, suggesting ways in which the introduction of ‘intelligence’ both artificial and human into such systems will be essential to their long-term educational and also commercial success. (shrink)

More and more people around the world are using computer (video) games. The development of the gaming industry means increasing of its complexity in all aspects. Not only is the content represented in games continuously differentiating, but we also see the increasing diversity among their creators, users, researchers and the public. This article aims to draw attention to the possibility of using the concept of social capital in ludologists’ research as well as in improving the quality of (...) games and of the cooperation between social environments related with games. Social capital is understood here as a potential of interactions embedded in interpersonal ties and social norms, which can bring advantages for individuals, groups and societies. The author takes a closer look on: the main features of this multi-dimensional category; significant differences between human, social and cultural capital; as well as the positive and negative influences of social capital. ** Z gier komputerowych (wideo) korzysta coraz więcej ludzi na całym świecie. Rozwój branży gier oznacza wzrastającą jej złożoność we wszystkich płaszczyznach. Nie tylko stale różnicują się treści przedstawiane w grach, ale też rośnie zróżnicowanie ich twórców, użytkowników, badaczy i opinii publicznej. Celem artykułu jest zwrócenie uwagi na możliwość wykorzystania koncepcji kapitału społecznego w badaniach ludologów oraz w podnoszeniu jakości gier i współpracy między środowiskami związanymi z grami. Kapitał społeczny jest tu rozumiany jako potencjał współdziałania osadzony w powiązaniach międzyludzkich i normach społecznych, który może przynosić korzyści osobom, grupom i społeczeństwom. Przybliżone zostały: główne cechy tej wielowymiarowej kategorii; istotne różnice między kapitałem ludzkim, społecznym i kulturowym; oraz pozytywne i negatywne skutki oddziaływania kapitału społecznego. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 58-64 [Access article in PDF] Media Literacy Education in Art:Motion Expression and the New Vision of Art EducationThe Bauhaus, which established the foundation of modern design, has greatly influenced Japanese design and art education. It is a historical fact that the movement views "synthetic art" as an integration of the various fields and the integration of the art and (...) machine technology experimentally. However, the Bauhaus is not just of historical importance but continues to have an influence even in the integration of the art and electronic technology in today's "multimedia." In addition, it can be said that it is very much alive as "the digital Bauhaus" or "the electronic Bauhaus." 1 As we know, today's multimedia and the Internet give us a new life-environment, and expandthe possibility of expression in art. Therefore, current art education must examine how these new medias will be incorporated into the curriculum.In the cases of the photograph, video, or computer, an expression by the image media is added to the art course for the junior high school course of study. 2 Also in school art classes, image media was introduced, expanding the possibilities of self-expression through art. This result can be matched to the needs of the industrial world in Japan as well. As an educational practice, the content of this course of study is promising, even though someproblems must be solved, acquiring new equipment, re-educating the artteacher, and securing additional art school hours. The new content in art education can be summarized as follows:1. The motion picture (animation) which includes time and movement. Motion picture is asequence of continuous images, obviously different from the still images of painting. There are, of course, artworks that express motion or induce the viewer'seye movement. There are also kinetic artworks that do move, such as mobiles. Works of motion picture have, however, a fixed time shaft, and they are formed by the afterimage phenomenon. Thinking about the progress of time shaft is an indispensable element for the production. [End Page 58]2. The synchronism of image and sound. Because time is a factor in the visual expression, the works are compatible with music — the art of time. There is a synchronized relation between the motion picture and music. Image expression with multimedia became synthetic art, just as the Bauhaus looked for "architecture." Currently, this kind of expression transitions from art to entertainment, and permeates daily life.3. The method with interactive art work. Not only artworks of installation, but also TV games and web design have interactive construction as an indispensable interface. The aesthetic value of these visual works will be appreciated when the user starts the action by hitting a touchpad, pushing buttons, or clicking a mouse. To make this kind of artwork, one needs to consider the latent relationships between humans and work, and establish the input-output order for the method of construction.4. The problem of virtual reality. The term "virtual reality" is used by some art teachers as criticism against digital works such as computer graphics. These teachers insist that there is no reality there. One can, however, get an aesthetic feeling through sensory information, imagination, and sensitivity, even though what one sees is an illusion. The feeling of reality a picture of an apple gives, for example, may be equal to a computer graphic apple.Human imagination also creates "virtual reality" beyond reality in the myth, the novel, and so on. It can be said that this is the basis for human creativity.Furthermore, expression by image media raises the problem of a "reality" in which material experience is important to encounterthe world directly. Such an argument discusses multimedia as a tool of expression and a teaching material while reconsidering human reality.More recently, "media literacy" (ability to read and understand media) became an important point of discussion for Japanese educators. Usually, in this discussion, the critical ability to talk back to the television program is emphasized. However, through art... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 58-64 [Access article in PDF] Media Literacy Education in Art:Motion Expression and the New Vision of Art EducationThe Bauhaus, which established the foundation of modern design, has greatly influenced Japanese design and art education. It is a historical fact that the movement views "synthetic art" as an integration of the various fields and the integration of the art and (...) machine technology experimentally. However, the Bauhaus is not just of historical importance but continues to have an influence even in the integration of the art and electronic technology in today's "multimedia." In addition, it can be said that it is very much alive as "the digital Bauhaus" or "the electronic Bauhaus." 1 As we know, today's multimedia and the Internet give us a new life-environment, and expandthe possibility of expression in art. Therefore, current art education must examine how these new medias will be incorporated into the curriculum.In the cases of the photograph, video, or computer, an expression by the image media is added to the art course for the junior high school course of study. 2 Also in school art classes, image media was introduced, expanding the possibilities of self-expression through art. This result can be matched to the needs of the industrial world in Japan as well. As an educational practice, the content of this course of study is promising, even though someproblems must be solved, acquiring new equipment, re-educating the artteacher, and securing additional art school hours. The new content in art education can be summarized as follows:1. The motion picture (animation) which includes time and movement. Motion picture is asequence of continuous images, obviously different from the still images of painting. There are, of course, artworks that express motion or induce the viewer'seye movement. There are also kinetic artworks that do move, such as mobiles. Works of motion picture have, however, a fixed time shaft, and they are formed by the afterimage phenomenon. Thinking about the progress of time shaft is an indispensable element for the production. [End Page 58]2. The synchronism of image and sound. Because time is a factor in the visual expression, the works are compatible with music — the art of time. There is a synchronized relation between the motion picture and music. Image expression with multimedia became synthetic art, just as the Bauhaus looked for "architecture." Currently, this kind of expression transitions from art to entertainment, and permeates daily life.3. The method with interactive art work. Not only artworks of installation, but also TV games and web design have interactive construction as an indispensable interface. The aesthetic value of these visual works will be appreciated when the user starts the action by hitting a touchpad, pushing buttons, or clicking a mouse. To make this kind of artwork, one needs to consider the latent relationships between humans and work, and establish the input-output order for the method of construction.4. The problem of virtual reality. The term "virtual reality" is used by some art teachers as criticism against digital works such as computer graphics. These teachers insist that there is no reality there. One can, however, get an aesthetic feeling through sensory information, imagination, and sensitivity, even though what one sees is an illusion. The feeling of reality a picture of an apple gives, for example, may be equal to a computer graphic apple.Human imagination also creates "virtual reality" beyond reality in the myth, the novel, and so on. It can be said that this is the basis for human creativity.Furthermore, expression by image media raises the problem of a "reality" in which material experience is important to encounterthe world directly. Such an argument discusses multimedia as a tool of expression and a teaching material while reconsidering human reality.More recently, "media literacy" (ability to read and understand media) became an important point of discussion for Japanese educators. Usually, in this discussion, the critical ability to talk back to the television program is emphasized. However, through art... (shrink)

The mental rotation ability is an essential spatial reasoning skill in human cognition and has proven to be an essential predictor of mathematical and STEM skills, critical and computational thinking. Despite its importance, little is known about when and how mental rotation processes are activated in games explicitly targeting spatial reasoning tasks. In particular, the relationship between spatial abilities and TetrisTM has been analysed several times in the literature. However, these analyses have shown contrasting results between the effectiveness of (...) Tetris-based training activities to improve mental rotation skills. In this work, we studied whether, and under what conditions, such ability is used in the TetrisTM game by explicitly modelling mental rotation via an ACT-R based cognitive model controlling a virtual agent. The obtained results show meaningful insights into the activation of mental rotation during game dynamics. The study suggests the necessity to adapt game dynamics in order to force the activation of this process and, therefore, can be of inspiration to design learning activities based on TetrisTM or re-design the game itself to improve its educational effectiveness. (shrink)

Growth in popularity of computer games is a noticeable change in recent years. Electronic entertainment increasingly engages the wider society and reaches to new audiences by offering them satisfy of wide variety of needs and aspirations. As a mass media games not only provide entertainment, but they are also an important source of income, knowledge and social problems. Article aims to bring closer look on the common areas of games and comics. On the one hand designers (...) and artists working on games are often inspired by comic books, as well as they create their licensed adaptations and separate „interactive issues”. On the other hand more and more often we can see comics based on popular games. Study present the areas of agreement, cooperation or dependence like: technologies used to create games and comic books, use of comic books to comment events in the gaming industry and organization of exhibitions or events popularizing the works from both fields. ** W ostatnich latach dostrzegalny jest wzrost popularności gier komputerowych. Elektroniczna rozrywka angażuje uwagȩ coraz to szerszych krȩgów społecznych i dociera do nowych grup odbiorców oferuj¸a}c im zaspokojenie najrozmaitszych potrzeb i aspiracji. Jako środek masowego przekazu gry dostarczaj¸a} nie tylko rozrywki, ale stanowi¸a} też istotne źródło dochodów, wiedzy i problemów społecznych. Celem artykułu jest przybliżenie wspólnych obszarów gier i komiksu. Z jednej strony projektanci i artyści pracuj¸a}cy nad grami czȩsto czerpi¸a} inspiracjȩ z komiksów, jak również tworz¸a} ich licencjonowane adaptacje i odrȩbne, „interaktywne numery”. Z drugiej zaś coraz czȩściej publikowane s¸a} komiksy bazuj¸a}ce na popularnych grach. Opracowanie przedstawia również takie obszary porozumienia, współpracy, b¸adź zależności jak: technologie wykorzystywane przy tworzeniu gier i komiksów, zastosowanie komiksów w komentowaniu wydarzeń branży gier oraz organizowanie wystaw i imprez popularyzuj¸acych twórczość z obu dziedzin. (shrink)

Drug abuse has been and continues to be, a common social issue worldwide, yet the efficiency of widely adopted sweeping speech for anti-drug campaigns has proven inefficient. To provide students with a safe and efficient learning situation related to drug refusal skills, we used a novel approach rooted in a serious learning game and concept map during a brief extracurricular period to help students understand drugs and their negative effects. The proposed game-based situational learning system allowed all students to participate (...) simultaneously and individually in multiple scenarios of drug temptation posed by peers and classmates to practice responding and refusing drugs in school and community settings. Moreover, to explore whether different personality traits result in different anti-drug responses, we used a serious game to conduct an anti-drug experiment on 53 junior middle school students aged 13–15. Each participant’s decision-making process was recorded in the serious game as behavioral patterns for lag sequential analysis. The outcomes revealed seven behavioral patterns including differentiation, acceptance, effective and ineffective responses, effective and ineffective solution-seeking, and failure to refuse. The GSEQ which is a computer program for analyzing sequential observational data was used. The results indicated the following: Neuroticism was performed at a relatively low level under the guidance of a concept map. “Neuroticism” was associated with the lowest risk of accepting drugs. Students with “openness to experiences” were at high risk of accepting drugs. Almost all personality behavioral transition diagrams showed that failure to refuse drugs was followed by inefficient seeking of help and inefficient refusal. These findings provide reference points for designing adaptive anti-drug education programs. (shrink)

This article discusses the use of computer-based simulation games to teach business ethics. The current theory of business ethics simulation games (BESGs) is built on two axioms. The first is that BESGs are best used to teach students ethical principles, and the second is that this is best accomplished by presenting students with ethical dilemmas. This article disputes both of these axioms and proposes new theory. The purpose of BESGs, on the new theory, is to induce in (...) students certain thought processes, not to simulate business situations. According to this new theory, simulation games should be designed to induce in players decision-making processes analogous to those of managers and employees confronted with ethically fraught decisions that have no obvious right or wrong answer. These ethical conundrums involve balancing risks to others and benefits for oneself in the course of ordinary, everyday work. This new theory is illustrated by describing a BESG designed by the author and currently used at several colleges and universities. (shrink)

This chapter considers what Ender's experiences tell us about the differences between liberal education, vocational training, critical inquiry, and that elusive matter of freedom in, and as a result of education. Specifically, the chapter addresses the following questions: Does everyone need a liberal education? Are schools training grounds for the workplace? And finally, is critical inquiry essential to being an educated person? Ender does get a kind of liberal education with three core aspects. First, in terms (...) of comprehension and performance, Ender learns about military history, military tactics, and strategic‐oriented mathematical calculations in the classroom. Second, he develops problem‐solving skills in the cyber‐reality of the computer game, the Giant's Drink. Third, in terms of interactive performance and cognition, Ender learns about hand‐to‐hand combat and command in the simulated war games of the battleroom. Ender's Game illustrates just how different views of pedagogy can intermingle and conflict with one another. (shrink)

This article shows the organization of distance learning, particularly the idea of b-learning, combining the accomplishment of classes carried on in the traditional way and via computers. The authors present learning activities related to complementary education herein. Some of these course types may be successfully adapted to an e-learning background. The models and structure of the university virtual environment for distance learning are described. These illustrate a new approach to creating a virtual space for medical and technical studies where (...) e-learning courses are created to be used for distance education, which allows students to be taught more effectively. The projected virtual courses for different groups of students ensure individualization of students’ work, which could be a relevant element for creating the shortest path of development of professional competencies. This paper further includes a brief overview of technologies used to build interactive elements into learning mate- rials. The authors present the use of interactive elements in medical education based on examples of certain selected games and animations. (shrink)

– The purpose of this paper is to argue that playing computer games for lengthy periods of time, even in a manner that will force the player to forgo certain other activities normally seen as more important, can be an integral part of human flourishing., – The authors' claim is based on a modern reading of Aristotle's Nichomacean Ethics. It should be emphasized that the authors do not argue that computer gaming and other similar online activities are (...) central to all people under all circumstances; but only seek to show that the claim holds true for some people under some circumstances and the authors try to spell out the relevant circumstances in detail., – The authors provide a list of situations in which playing computer games for lengthy periods of time, in a manner that will force the player to forgo certain other activities normally seen as more important, is an integral part of human flourishing., – The paper puts some novel pressure on the widely‐held belief that playing computer games for lengthy periods of time, in a manner that will force the player to forgo certain other activities normally seen as more important. The paper claims that playing some computer games and partaking in some forms of online activities could be highly conducive to what it actually means in practice to take care of oneself and, to paraphrase Aristotle, to be eager for fine actions. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Book Review Wayne C. Booth. For the Love ofIt: Amateuring and Its Rivals (Chicago: University of Chicago Press, 1999). For the Love ofIt is a delightful exposition on life-long music making written with love by amateur cellist Wayne Booth (professor emeritus ofEnglish, University ofChicago). Employing a combination of journal entries, memories, and romantic prose on the topic oftaking up the cello at age thirty-one, he writes insightfully on the (...) challenges and triumphs inherent in amateur pursuits (musical, or otherwise). Written from a classical music perspective, he analyzes the reasons for amateuring, all the while extolling his community offellow amateurs, pro-amateurs, and teachers who make the journey worthwhile. He imparts many valuable insights from which music educators can benefit. I will summarize Booth's main points, highlighting these insights, and conclude with a brief criticism of the book from theperspective ofone who has worked with adult amateurs for more than fifteen jears. Boothplayfullypresentshis text in the form ofa symphony. In the "Overture," he encourages people to pursue actively an amateur love and desires growth in the ranks of amateurs. Just as Christopher Small encouraged a mental shift from to musictothemoreactive gerund formmusicking in his book of that title,1 Booth promotes a shift from the noun amateurto the gerund amateuring. He defines amateuringas doing something for the sheer love of it, adding the caveat: "Amateurs don't just dabble, like serious professionals, they work at learningto do it better^11). This idea of constant improvement is reiteratedthroughout the book with detailedrecounting ofBooth's forty-six years of cello studies, especially his pursuit of excellent thumb position. Why one should study to this degree when full success (that is, professional performance) is out of reach? Booth suggests the following rewards: joyful friendship, spiritual ecstasy, and gratitude for life's mysterious unearned gifts (5, 6). Indeed, throughout the book Booth finds himself "getting better all the time," often "playing better than ever"(58, 112, 123, 137, 140). His feelings ofimprovement and the accompanying self-satisfaction are ajoy to see and reinforce the idea that theserewards make true amateuring worth it. In"First Movement: The Courtship,"music educators find a staunch supporter in Booth and gain insight into the importance of childhood music activities as seen through amateureyes. As Booth wiselystates,"No one inmidlifeis likelyto take up any instrument, let alone the cello, without having fallenin lovewithmusic longbefore"(21). Clearlyfrom a musical family, he describes beautiful childhood memories including dancing with his mother at age five; making up songs; taking piano and clarinet lessons; singing three-part solfège exercises in sixth grade; and hearing his first live orchestra concert, the Philadelphia Orchestra conducted by Leopold Stokowski (22-8). These types ofactivities lay an important foundation for the pursuit of music by adults as "amateuring in our early years can lead to a lifetime ofamateuring" (22). Booth is a champion ofmusic education in the schools. Concerned with music program cuts and the prevalence of personal stereos that keep young people from "getting music into their bones, not just their ears," he encourages the funding of music lessons rather than computer games (22). After describing how he was "seducedbythe cello," he concludesthis section with a discussion of how other pleasures rival for the amateur's attention, suggesting that leisure activities often take the form of passive pastimes, not the active work oftrue amateuring. LikeVemon HowardmLearningByAllMeans, Boothgrapples with the concept of work versus play. 2 If amateurs are to spend their leisure hours working diligently at getting better, the work must be©Philosophy ofMusic Education ReviewlO, no. 2 (Fall 2002): 140-143. Book Review 141 experienced as play-something they love to do. While professional musicians are paid to play, often playing for the love ofit fades as themoney blossoms. He maintains the distinction between amateurs and professionals lies not with being paid or unpaid, but with playing for love or solely for money. "My heroes... are the professionals Icallpro-amateurs-thosewillingtojoinamateurs, pursuingthe love together," statesBooth (59, 60). I believe music educators are foremost among these heroes. In "Second Movement: The Marriage," many insights into the teachingofaging amateurs are provided. First, he observes that while his level of cello playing rises with age... (shrink)

Many philosophical and public discussions of the ethical aspects of violent computer games typically centre on the relation between playing violent videogames and its supposed direct consequences on violent behaviour. But such an approach rests on a controversial empirical claim, is often one-sided in the range of moral theories used, and remains on a general level with its focus on content alone. In response to these problems, I pick up Matt McCormick’s thesis that potential harm from playing (...) class='Hi'>computer games is best construed as harm to one’s character, and propose to redirect our attention to the question how violent computer games influence the moral character of players. Inspired by the work of Martha Nussbaum, I sketch a positive account of how computer games can stimulate an empathetic and cosmopolitan moral development. Moreover, rather than making a general argument applicable to a wide spectrum of media, my concern is with specific features of violent computer games that make them especially morally problematic in terms of empathy and cosmopolitanism, features that have to do with the connections between content and medium, and between virtuality and reality. I also discuss some remaining problems. In this way I hope contribute to a less polarised discussion about computer games that does justice to the complexity of their moral dimension, and to offer an account that is helpful to designers, parents, and other stakeholders. (shrink)

Aim:The purpose of this study was to explore how adolescent patients displaying developmental trauma experience and describe meaning in life. Schnell’s model of meaning in life is applied to explore meaningfulness, crises of meaning and sources of meaning. Method: The study has a qualitative design based on individual interviews with eight adolescents aged 14–18 years in treatment in an outpatient clinic for mental health care for children and adolescents. The interviews were transcribed and analyzed using systematic text condensation. Results: The (...) adolescents related meaning in life to the experience of coherence, intrinsic values, progress and belonging, or the absence of these. Examples of sources of meaning among the informants were positive relations with meaningful others, structure and routines, moments of well-being, achieving goals related to education, work and family, and seeking something else outside oneself such as playing computer games, being engaged in politics, being with animals, having a belief in a god or being outdoors in natural surroundings. Conclusion: Although the topic of meaning in life was unknown to this group, they used sources of meaning intuitively. This group seems to have similar preferences to the general population. More knowledge is needed on how the topic of meaning in life can be useful in therapy for adolescents with development trauma. (shrink)

First, a number of previous theories of intrinsic motivation are reviewed. Then, several studies of highly motivating computer games are described. These studies focus on what makes the games fun, not on what makes them educational. Finally, with this background, a rudimentary theory of intrinsically motivating instruction is developed, based on three categories: challenge, fantasy, and curiosity.Challenge is hypothesized to depend on goals with uncertain outcomes. Several ways of making outcomes uncertain are discussed, including variable difficulty level, (...) multiple level goals, hidden information, and randomness. Fantasy is claimed to have both cognitive and emotional advantages in designing instructional environments. A distinction is made between extrinsic fantasies that depend only weakly on the skill used in a game, and intrinsic fantasies that are intimately related to the use of the skill. Curiosity is separated into sensory and cognitive components, and it is suggested that cognitive curiosity can be aroused by making learners believe their knowledge structures are incomplete, inconsistent, or unparsimonious. (shrink)

Why computer games can be ethical, how players use their ethical values in gameplay, and the implications for game design.

The subject of the article is the philosophical and cultural methodology of digital "virtual reality", comparing the declarations of developers with the practical possibilities and social consequences of using such technologies. The developers presented projects of online digital content services for all five senses using special equipment (glasses, headphones, interactive gloves, joysticks, costumes, printers of smells and tastes, etc.). It was assumed that virtual reality would surpass the reliability of previous multimedia content and interactive computer games, and the (...) persuasiveness and attractiveness of traditional technical means of art and the press. Failure to fulfill these promises has led to significant losses since 2022 for leading companies developing digital virtual reality technologies Meta (recognized by the court as an extremist organization on 03/21/2022, activity is limited in the territory of the Russian Federation), Microsoft HapticLinks, Cave, AlloSphere, Teslasuit, VRealizer. There was a need to assess how and to what extent the methodology used and the predicted capabilities of digital virtual reality were correct. Philosophical and cultural analysis as a research method reveals: the developers of digital virtual reality promised the methodologically impossible, reducing human perception to the "sum" of the external "five senses" out of connection with the "self", inner sensitivity, bodily self-perceptions. A person is only partially amenable to algorithmized digital interaction; a critical barrier to digital virtuality is the socio-cultural identity of society and personality. The novelty of the results of the analysis lies in the conclusion: digital virtual reality in many respects is fundamentally inferior in effectiveness to traditional technical means of sensory and emotional impact and cognition, used both for creative and destructive purposes. In terms of creative potential, digital virtual reality is inferior to the technical means of art, science, education, upbringing, etc., and in terms of destructive capabilities, it is already used in the press and other mass communications technologies for manipulating public and individual consciousness, as well as psychotropic substances that cause addiction. National regulation of the development of digital "virtual reality" is recommended, aimed at protecting and developing the socio-cultural identity of Russian citizens and society, as well as for cognitive and educational purposes. It is recommended to limit the remote use of such developments to trusted domestic Internet services. (shrink)

The objective of the research presented in this paper was to investigate whether an association existed between the activation of the body schema and reaching adulthood among people in late adolescence. Three activities that are known to enjoy popularity among young people were analysed, namely: dancing, playing computer games that require motor involvement, and playing computer games of an educational and entertaining character. It was assumed that the chosen forms of activity correspond to three levels of (...) activation of the body schema. The following research methods have been applied to this study: the Rosenberg Self-Esteem Scale, the Defence Style Questionnaire, and the Bodily Self Representation Questionnaire. The study has proven that the activation of body schema through dance is significantly related to high self-esteem and the use of mainly mature and neurotic defence mechanisms in threat situations. (shrink)

This paper explores the notion that children have a knowledge of the world of their own – an intuitive knowledge. Being fully immersed in the world as adults are, they too have a knowledge of the world. In contrast to adults, who have developed a cognitive knowledge of the world, children still depend on their intuitive knowledge. Children certainly have a strong grasp of the world they live in; it’s just not dependent on cognitive knowledge. In my paper I compare (...) and contrast Kohlberg and Lipman’s views on children’s ability to be natural philosophers. To be immersed in the world, brings to mind Martin Buber’s idea that we are born in relation, the a priori of relation, which only later develops into the essential relation as we develop the consciousness of our individual separateness. This a priori relation, then, forms the basis for children’s intuitive knowledge, and which is expressed through the language of imagination. And certainly, imagination is not devoid of any kind of reason. In focusing strictly on children’s cognitive development and ignoring their inborn relation with the world, we essentially rob them of their foothold in the world, their inner authority needed for self-regulated thinking. We create a world where children grow up dependent on authority, status, trends and fads. This can lead to what we’ve observed in the famous Milgram study. Philosophy with children encourages children to speak from their own place, in a form of parrhesia, if you will, and to discuss together with others the complexities of ideas. It honors their inborn relation with the world, their statements and aids in the process of developing their cognitive knowledge out of their intuitive grasp of the world. In respecting their inborn relation, philosophy with children allows children to grow up as full human beings, not just as smart and educated “disembodied creatures.” Children speak from the logic of experience (Foucault). Through the process of putting thinking itself into question, children become aware of themselves as thinking beings. It is what Bohm refers to as the “proprioception of thought,” the ability to “observe thought.” Philosophers, I argue, are experts in not knowing. In practicing the art of philosophy, the art of not knowing, we need each other to think together to explore deeper concepts. This binds us and allows us to explore the unknown with joy, curiosity and confidence. In an example from my own experience, I show that children not only intuitively touch on complex philosophical ideas; students are wrestling with ideas about how to understand the world, which is where philosophy began as well. How can we be surprised when children decide computer games are more interesting than life itself, if we have essentially robbed them of the desire to “get dirty,” and engage this world filled with wonder. We have created a world too boring and act surprised when children are bored. The world isn’t boring and in “doing” philosophy with children we keep the fascination with this place we call earth alive. (shrink)

Our exploratory research aims at suggesting design principles for educational software dedicated to people with high functioning autism. In order to explore the efficiency of educational games, we developed an experimental protocol to study the influence of the specific constraints of the learning areas as well as Human Computer Interface modalities. We designed computer games that were tested with 10 teenagers diagnosed with high functioning autism, during 13 sessions, at the rate of one session per week. (...) Participants’ skills were assessed before and after a training period. A group of 10 typical children matched on academic level also took part in the experiment. A software platform was developed to manage interface modalities and log users’ actions. Moreover, we annotated video recordings of two sessions. Results underline the influence of the task and interface modalities on executive functions. (shrink)

Our exploratory research aims at suggesting design principles for educational software dedicated to people with high functioning autism. In order to explore the efficiency of educational games, we developed an experimental protocol to study the influence of the specific constraints of the learning areas as well as Human Computer Interface modalities. We designed computer games that were tested with 10 teenagers diagnosed with high functioning autism, during 13 sessions, at the rate of one session per week. (...) Participants’ skills were assessed before and after a training period. A group of 10 typical children matched on academic level also took part in the experiment. A software platform was developed to manage interface modalities and log users’ actions. Moreover, we annotated video recordings of two sessions. Results underline the influence of the task and interface modalities on executive functions. (shrink)

Despite the emergence of computer games as a dominant cultural industry, we know little or nothing about the ethics of computer games. Considerations of the morality of computer games seldom go beyond intermittent portrayals of them in the mass media as training devices for teenage serial killers. In this first scholarly exploration of the subject, Miguel Sicart addresses broader issues about the ethics of games, the ethics of playing the games, and the (...) ethical responsibilities of game designers. He argues that computer games are ethical objects, that computer game players are ethical agents, and that the ethics of computer games should be seen as a complex network of responsibilities and moral duties. Players should not be considered passive amoral creatures; they reflect, relate, and create with ethical minds. The games they play are ethical systems, with rules that create gameworlds with values at play. Drawing on concepts from philosophy and game studies, Sicart proposes a framework for analyzing the ethics of computer games as both designed objects and player experiences. After presenting his core theoretical arguments and offering a general theory for understanding computer game ethics, Sicart offers case studies examining single-player games, multiplayer games, and online gameworlds from an ethical perspective. He explores issues raised by unethical content in computer games and its possible effect on players and offers a synthesis of design theory and ethics that could be used as both analytical tool and inspiration in the creation of ethical gameplay. (shrink)

Garry Young has made three objections against Sebastian Ostritsch’s endorsement view on the immorality of computer games. In this paper, we want to defend the endorsement view against all three of them.

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)

Today's computers are becoming ever more versatile. They are used in various applications, such as for education, entertainment, and information services. In other words, computers are often required to not only inform users of information but also communicate with them socially. Previous studies explored the design of ambient light displays and suggested that such systems can convey information to people in the periphery of their attention without distracting them from their primary work. However, they mainly focused on using ambient (...) lights to convey certain information. It is still unclear whether and how the lights can influence people's perception and decision-making. To explore this, we performed three experiments using a ping-pong game, Ultimatum game, and Give-Some game, in which we attached an LED strip to the front-bottom of a computer monitor and had it display a set of light expressions. Our evaluation of the results suggested that expressive lights do affect human perception and decision-making. Participants liked and anthropomorphized the computer more when it displayed light animations. Particularly, they perceived the computer as positive and friendlier when it displayed green and low intensity light animation, while red and high intensity light animation was perceived as negative and more hostile. They consequently behaved with more tolerance and cooperation to the computer when it was positive compared with when it was negative. The findings can open up possibilities for the design of ambient light systems for various applications where human-machine interaction is needed. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Book Review Wayne C. Booth. For the Love ofIt: Amateuring and Its Rivals (Chicago: University of Chicago Press, 1999). For the Love ofIt is a delightful exposition on life-long music making written with love by amateur cellist Wayne Booth (professor emeritus ofEnglish, University ofChicago). Employing a combination of journal entries, memories, and romantic prose on the topic oftaking up the cello at age thirty-one, he writes insightfully on the (...) challenges and triumphs inherent in amateur pursuits (musical, or otherwise). Written from a classical music perspective, he analyzes the reasons for amateuring, all the while extolling his community offellow amateurs, pro-amateurs, and teachers who make the journey worthwhile. He imparts many valuable insights from which music educators can benefit. I will summarize Booth's main points, highlighting these insights, and conclude with a brief criticism of the book from theperspective ofone who has worked with adult amateurs for more than fifteen jears. Boothplayfullypresentshis text in the form ofa symphony. In the "Overture," he encourages people to pursue actively an amateur love and desires growth in the ranks of amateurs. Just as Christopher Small encouraged a mental shift from to musictothemoreactive gerund formmusicking in his book of that title,1 Booth promotes a shift from the noun amateurto the gerund amateuring. He defines amateuringas doing something for the sheer love of it, adding the caveat: "Amateurs don't just dabble, like serious professionals, they work at learningto do it better^11). This idea of constant improvement is reiteratedthroughout the book with detailedrecounting ofBooth's forty-six years of cello studies, especially his pursuit of excellent thumb position. Why one should study to this degree when full success (that is, professional performance) is out of reach? Booth suggests the following rewards: joyful friendship, spiritual ecstasy, and gratitude for life's mysterious unearned gifts (5, 6). Indeed, throughout the book Booth finds himself "getting better all the time," often "playing better than ever"(58, 112, 123, 137, 140). His feelings ofimprovement and the accompanying self-satisfaction are ajoy to see and reinforce the idea that theserewards make true amateuring worth it. In"First Movement: The Courtship,"music educators find a staunch supporter in Booth and gain insight into the importance of childhood music activities as seen through amateureyes. As Booth wiselystates,"No one inmidlifeis likelyto take up any instrument, let alone the cello, without having fallenin lovewithmusic longbefore"(21). Clearlyfrom a musical family, he describes beautiful childhood memories including dancing with his mother at age five; making up songs; taking piano and clarinet lessons; singing three-part solfège exercises in sixth grade; and hearing his first live orchestra concert, the Philadelphia Orchestra conducted by Leopold Stokowski (22-8). These types ofactivities lay an important foundation for the pursuit of music by adults as "amateuring in our early years can lead to a lifetime ofamateuring" (22). Booth is a champion ofmusic education in the schools. Concerned with music program cuts and the prevalence of personal stereos that keep young people from "getting music into their bones, not just their ears," he encourages the funding of music lessons rather than computer games (22). After describing how he was "seducedbythe cello," he concludesthis section with a discussion of how other pleasures rival for the amateur's attention, suggesting that leisure activities often take the form of passive pastimes, not the active work oftrue amateuring. LikeVemon HowardmLearningByAllMeans, Boothgrapples with the concept of work versus play. 2 If amateurs are to spend their leisure hours working diligently at getting better, the work must be©Philosophy ofMusic Education ReviewlO, no. 2 (Fall 2002): 140-143. Book Review 141 experienced as play-something they love to do. While professional musicians are paid to play, often playing for the love ofit fades as themoney blossoms. He maintains the distinction between amateurs and professionals lies not with being paid or unpaid, but with playing for love or solely for money. "My heroes... are the professionals Icallpro-amateurs-thosewillingtojoinamateurs, pursuingthe love together," statesBooth (59, 60). I believe music educators are foremost among these heroes. In "Second Movement: The Marriage," many insights into the teachingofaging amateurs are provided. First, he observes that while his level of cello playing rises with age... (shrink)

Play and games are among the basic means of expression in intelligent communication, influenced by the relevant cultural environment. Games have found a natural expression in the contemporary computer era in which communications are increasingly mediated by computing technology. The widespread use of e-games results in conceptual and policy vacuums that must be examined and understood. Humans involved in design-ing, administering, selling, playing etc. computer games encounter new situations in which good and bad, right (...) and wrong, are not defined by the experience of previous generations. This article gives an account of the historical necessity of games, the development of e-games, their pros- and cons, threats and promises, focusing on the ethical awareness and attitudes of game developers. (shrink)

Note: OCR errors may be found in this Reference List extracted from the full text article. ACM has opted to expose the complete List rather than only correct and linked references.

While calls to integrate ethics into computer science education go back decades, recent high-profile ethical failures related to computing technology by large technology companies, governments, and academic institutions have accelerated the adoption of computer ethics education at all levels of instruction. Discussions of how to integrate ethics into existing computer science programmes often focus on the structure of the intervention—embedded modules or dedicated courses, humanists or computer scientists as ethics instructors—or on the specific content (...) to be included—lists of case studies and essential topics to cover. While proponents of computer ethics education often emphasize the importance of closely connecting ethical and technical content in these initiatives, most do not reflect in depth on the variety of ways in which the disciplines can be combined. In this paper, I deploy a framework from cross- disciplinary studies that categorizes academic projects that work across disciplines as multidisciplinary, interdisciplinary, or transdisciplinary, depending on the degree of integration. When applied to computer ethics education, this framework is orthogonal to the structure and content of the initiative, as I illustrate using examples of dedicated ethics courses and embedded modules. It therefore highlights additional features of cross-disciplinary teaching that need to be considered when planning a computer ethics programme. I argue that computer ethics education should aim to be at least interdisciplinary—multidisciplinary initiatives are less aligned with the pedagogical aims of computer ethics—and that computer ethics educators should experiment with fully transdisciplinary education that could transform computer science as a whole for the better. (shrink)

This book introduces the critical concepts and debates that are shaping the emerging field of game studies. Exploring games in the context of cultural studies and media studies, it analyses computer games as the most popular contemporary form of new media production and consumption. The book: Argues for the centrality of play in redefining reading, consuming and creating culture Offers detailed research into the political economy of games to generate a model of new media production Examines (...) the dynamics of power in relation to both the production and consumption of computer games This is key reading for students, academics and industry practitioners in the fields of cultural studies, new media, media studies and game studies, as well as human-computer interaction and cyberculture. (shrink)

Digital computers are by design completely deterministic, yet they are often consumers of randomness in cryptography, simulations, science experiments and computer games. To generate randomness in software, programmers implement special mathematical algorithms, which produce a series of numbers that appear nondeterministic, so called pseudo random number generators (PRNGs). Computer games make heavy use of such PRNGs to make game simulations and behaviors of game elements appear more natural. An important design element of many video games (...) is game physics, the simulation of physical reality in video games. Generally overlooked by game developers, is the fact that randomness based on PRNGs are mere simulations themselves and randomness is not treated as a physical property of reality, and thus a form of game physics. Since the dynamics of the very small and the very complex invariably contains randomness, the author suggests this can be used to extend to the scope of game physics by defining two new game physics elements: 1. providing physics based random data to games or interactive media and 2. extracting true randomness from game-player interactions themselves. (shrink)

For 50 years, Star Trek has been an inspiration to its fans around the world, helping them to dream of a better future. This inspiration has entered our culture and helped to shape much of the technology of the early 21st Century. The contributors to this volume are researchers and teachers in a wide variety of disciplines; from Astrophysics to Ethnology, from English and History to Medicine and Video Games, and from American Studies to the study of Collective Computing (...) Systems. What the authors have in common is that some version of Star Trek has inspired them, not only in their dreams of what may be, but in the ways in which they work - and teach others to work - here in the real world. Introduced with references to Star Trek films and television shows, and illustrated with original cartoons, each of the 15 chapters included in this volume provides insights into research and teaching in this range of academic fields. (shrink)

The seven articles that constitute this special issue illustrate scholarly interactions between philosophy and game studies. The wide range of game types/genres and the multiple philosophical issues concerning them are rich and productive. They indicate well the significant contribution that philosophical approaches can make to further development of scholarly understandings of computer games and gaming. Each article breaks new conceptual ground in ways likely to resonate within the new discipline of computer game studies but also, beyond this, (...) in other disciplinary fields wherein video games and digital entertainment cannot be ignored. All are either original works submitted in response to an open call for contributions, or reworked versions of papers presented at earlier Philosophy of Computer Games conferences, and not previously published elsewhere. (shrink)

As the contemporary heirs of popular music or cinema, computer games are gradually taking over the mar-kets of entertainment. Much like cinema and music, computer games are taking the spotlight in another front – that which blames them for encouraging unethical behaviors. Apparently, computer games turn their users into blood thirsty zombies with a computer game learnt ability of aiming with deadly precision. The goal of this paper is to pay attention to the (...) ethical nature of computer games, in order to understand better the ways we can evaluate their morality in western cultures providing a framework to understand some of these concerns. This paper poses questions about the ontology of games and their ethical meaning, in an attempt to give ethical theory a word in the analysis of computer games. (shrink)