Results for 'Video games Philosophy'

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  1. Video Games and the Philosophy of Art.Aaron Smuts - 2005 - American Society for Aesthetics Newsletter.
    The most cursory look at video games raises several interesting issues that have yet to receive any consideration in the philosophy of art, such as: Are videogames art and, if so, what kind of art are they? Are they more closely related to film, or are they similar to performance arts, such as dance? Perhaps they are more akin to competitive sports and games like diving and chess? Can we even define “video game” or “game”? (...)
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  2. Philosophy Through Video Games.Jon Cogburn - 2009 - Routledge.
    I, player : the puzzle of personal identity (MMORPGS and Virtual Communities) -- The game inside the mind, the mind inside the game (The Nintendo Wii Gaming Console) -- Realistic blood and gore : do violent games make violent gamers? (First-person Shooters) -- Games and God's goodness (World-builder and Tycoon Games) -- The metaphysics of interactive art (Puzzle and Adventure Games) -- Artificial and human intelligence (Single-player RPGS) -- Epilogue: Video games and the meaning (...)
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  3.  91
    Simulating Philosophy: Interpreting Video Games as Executable Thought Experiments. [REVIEW]Marcus Schulzke - 2014 - Philosophy and Technology 27 (2):251-265.
    This essay proposes an alternative way of studying video games: as thought experiments akin to the narrative thought experiments that are frequently used in philosophy. This perspective incorporates insights from the narratological and ludological perspectives in game studies and highlights the philosophical significance of games. Video game thought experiments are similar to narrative thought experiments in many respects and can perform the same functions. They also have distinctive advantages over narrative thought experiments, as they situate (...)
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  4. Philosophy Through Video Games.Jon Cogburn & Mark Silcox - 2008 - Routledge.
    How can _Wii Sports_ teach us about metaphysics? Can playing _World of Warcraft_ lead to greater self-consciousness? How can we learn about aesthetics, ethics and divine attributes from _Zork_, _Grand Theft Auto_, and _Civilization_? A variety of increasingly sophisticated video games are rapidly overtaking books, films, and television as America's most popular form of media entertainment. It is estimated that by 2011 over 30 percent of US households will own a Wii console - about the same percentage that (...)
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  5.  96
    Film Theory Meets Video Games: An Analysis of the Issues and Methodologies in 'ScreenPlay'. [REVIEW]Aaron Smuts - 2003 - Film-Philosophy 7 (54).
    "ScreenPlay" is the first collection of essays devoted to exploring the relationship between cinema and video games. It attempts to introduce the field of video game studies while also increasing our understanding of the two artforms. Although not all of the essays are models of clear thinking on the subject, the volume will be a valuable resource for those working in film, philosophy, new media, and video game studies. Geoff King and Tanya Krzywinska have brought (...)
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  6.  37
    Philosophy Through Video Games.Tad Bratkowski - 2010 - Teaching Philosophy 33 (3):317-320.
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  7.  28
    Introduction to the Special Issue on the Philosophy of Computer Games.Patrick John Coppock, Graeme Kirkpatrick, Olli Tapio Leino & Anita Leirfall - 2014 - Philosophy and Technology 27 (2):151-157.
    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 (...)
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  8. Are Video Games Art?Aaron Smuts - 2005 - Contemporary Aesthetics 2.
    I argue that by any major definition of art many modern video games should be considered art. Rather than defining art and defending video games based on a single contentious definition, I offer reasons for thinking that video games can be art according to historical, aesthetic, institutional, representational and expressive theories of art. Overall, I argue that while many video games probably should not be considered art, there are good reasons to think (...)
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  9. Video Games and Ethics.Monique Wonderly - 2017 - In Joseph C. Pitt & Ashley Shew (eds.), Spaces for the Future: A Companion to Philosophy of Technology. New York, USA: Routledge.
    Historically, video games featuring content perceived as excessively violent have drawn moral criticism from an indignant (and sometimes, morally outraged) public. Defenders of violent video games have insisted that such criticisms are unwarranted, as committing acts of virtual violence against computer-controlled characters – no matter how heinous or cruel those actions would be if performed in real life – harm no actual people. In this paper, I present and critically analyze key aspects of this debate. I (...)
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  10.  26
    Musical Ecologies in Video Games.Michiel Kamp - 2014 - Philosophy and Technology 27 (2):235-249.
    What makes video games unique as an audiovisual medium is not just that they are interactive, but that this interactivity is rule bound and goal oriented. This means that player experience, including experience of the music, is somehow shaped or structured by these characteristics. Because of its emphasis on action in perception, James Gibson’s ecological approach to psychology—particularly his concept of affordances—is well suited to theorise the role of music in player experience. In a game, players perceive the (...)
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  11.  34
    Video Games and Virtual Reality.Robert Seddon - 2017 - In Anthony F. Beavers (ed.), Macmillan Interdisciplinary Handbooks: Philosophy: Technology. Macmillan Reference USA. pp. 191-216.
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  12.  35
    Augmented Ontologies or How to Philosophize with a Digital Hammer.Stefano Gualeni - 2014 - Philosophy and Technology 27 (2):177-199.
    Could a person ever transcend what it is like to be in the world as a human being? Could we ever know what it is like to be other creatures? Questions about the overcoming of a human perspective are not uncommon in the history of philosophy. In the last century, those very interrogatives were notably raised by American philosopher Thomas Nagel in the context of philosophy of mind. In his 1974 essay What is it Like to Be a (...)
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  13.  62
    The Ethics of Computer Games.Miguel Sicart - 2009 - MIT Press.
    Why computer games can be ethical, how players use their ethical values in gameplay, and the implications for game design.
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  14.  15
    Applying Aspects of the Expert Performance Approach to Better Understand the Structure of Skill and Mechanisms of Skill Acquisition in Video Games.R. Boot Walter, Sumner Anna, J. Towne Tyler, Rodriguez Paola & K. Anders Ericsson - 2017 - Topics in Cognitive Science 9 (2):413-436.
    Video games are ideal platforms for the study of skill acquisition for a variety of reasons. However, our understanding of the development of skill and the cognitive representations that support skilled performance can be limited by a focus on game scores. We present an alternative approach to the study of skill acquisition in video games based on the tools of the Expert Performance Approach. Our investigation was motivated by a detailed analysis of the behaviors responsible for (...)
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  15.  94
    The Problem of Evil in Virtual Worlds.Brendan Shea - 2017 - In Mark Silcox (ed.), Experience Machines: The Philosophy of Virtual Worlds. Lanham, MD: Rowman & Littlefield. pp. 137-155.
    In its original form, Nozick’s experience machine serves as a potent counterexample to a simplistic form of hedonism. The pleasurable life offered by the experience machine, its seems safe to say, lacks the requisite depth that many of us find necessary to lead a genuinely worthwhile life. Among other things, the experience machine offers no opportunities to establish meaningful relationships, or to engage in long-term artistic, intellectual, or political projects that survive one’s death. This intuitive objection finds some support in (...)
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  16.  12
    Applying Aspects of the Expert Performance Approach to Better Understand the Structure of Skill and Mechanisms of Skill Acquisition in Video Games.Walter R. Boot, Anna Sumner, Tyler J. Towne, Paola Rodriguez & K. Anders Ericsson - 2016 - Topics in Cognitive Science 8 (4).
    Video games are ideal platforms for the study of skill acquisition for a variety of reasons. However, our understanding of the development of skill and the cognitive representations that support skilled performance can be limited by a focus on game scores. We present an alternative approach to the study of skill acquisition in video games based on the tools of the Expert Performance Approach. Our investigation was motivated by a detailed analysis of the behaviors responsible for (...)
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  17.  24
    The Legend of Zelda and Philosophy: I Link Thereforei Am.Luke Cuddy (ed.) - 2009 - Open Court.
    "Chapters address philosophical aspects of the video game The Legend of Zelda and video game culture in general"--Provided by publisher.
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  18. Locating the Wrongness in Ultra-Violent Video Games.David I. Waddington - 2007 - Ethics and Information Technology 9 (2):121-128.
    The extremely high level of simulated violence in certain recent video games has made some people uneasy. There is a concern that something is wrong with these violent games, but, since the violence is virtual rather than real, it is difficult to specify the nature of the wrongness. Since there is no proven causal connection between video-game violence and real violence, philosophical analysis can be particularly helpful in locating potential sources of wrongness in ultra-violent video (...)
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  19.  80
    Video Games as Self‐Involving Interactive Fictions.Jon Robson & Aaron Meskin - 2016 - Journal of Aesthetics and Art Criticism 74 (2):165-177.
    This article explores the nature and theoretical import of a hitherto neglected class of fictions which we term ‘self-involving interactive fictions’. SIIFs are interactive fictions, but they differ from standard examples of interactive fictions by being, in some important sense, about those who consume them. In order to better understand the nature of SIIFs, and the ways in which they differ from other fictions, we focus primarily on the most prominent example of the category: video-game fictions. We argue that (...)
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  20.  81
    Computing Machinery and Emergence: The Aesthetics and Metaphysics of Video Games.Jon Cogburn & Mark Silcox - 2004 - Minds and Machines 15 (1):73-89.
    We build on some of Daniel Dennett’s ideas about predictive indispensability to characterize properties of video games discernable by people as computationally emergent if, and only if: (1) they can be instantiated by a computing machine, and (2) there is no algorithm for detecting instantiations of them. We then use this conception of emergence to provide support to the aesthetic ideas of Stanley Fish and to illuminate some aspects of the Chomskyan program in cognitive science.
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  21.  48
    Powerplay — Power, Violence and Gender in Video Games.Gitte Jantzen & Jans F. Jensen - 1993 - AI and Society 7 (4):368-385.
    Unlike the bulk of electronic media the computer game or video game is a distinctly gendered medium. All investigations confirm that we are dealing with a medium which almost exclusively appeals to and is used by, boys and young men. Therefore, the video games and computer games are very suited for investigating the form of entertainment, the pleasure, that appeals to men, i.e. the specific ‘masculine pleasure’.The paper deals with questions such as: What do computer (...) mean? What does violence in computer games signify? Why do computer games, especially the violent ones, mean something special to a certain group of men? These questions are discussed from the perspective of semiotics, media and control studies.Finally, the paper discusses the connections between women and the male dominated video games, and attempts to explain why, nevertheless, some girls and women do play these games. (shrink)
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  22.  3
    Ten Things Video Games Can Teach Us , by Jordan Erica Webber and Daniel Griliopoulos.Joshua D. Crabill - 2017 - Teaching Philosophy 40 (4):486-490.
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  23.  19
    The Civic Potential of Video Games by Joseph Kahne, Ellen Middaugh and Chris Evans.David I. Waddington - 2010 - Journal of Philosophy of Education 44 (4):599-602.
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  24. Claim: Video Gaming Companies Should Not Create Violent Video Games Due to the Fact That They Can Provoke Unethical Behaviors in Children.Nikki Kent - forthcoming - Philosophy.
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  25. Philosophy of Games.C. Thi Nguyen - 2017 - Philosophy Compass 12 (8):e12426.
    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 (...)
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  26.  87
    Pornography, Ethics, and Video Games.Stephanie L. Patridge - 2013 - Ethics and Information Technology 15 (1):25-34.
    In a recent and provocative essay, Christopher Bartel attempts to resolve the gamer’s dilemma. The dilemma, formulated by Morgan Luck, goes as follows: there is no principled distinction between virtual murder and virtual pedophilia. So, we’ll have to give up either our intuition that virtual murder is morally permissible—seemingly leaving us over-moralizing our gameplay—or our intuition that acts of virtual pedophilia are morally troubling—seemingly leaving us under-moralizing our game play. Bartel’s attempted resolution relies on establishing the following three theses: (1) (...)
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  27. A Humean Approach to Assessing the Moral Significance of Ultra-Violent Video Games.Monique Wonderly - 2008 - Ethics and Information Technology 10 (1):1-10.
  28.  74
    Free Will and Moral Responsibility in Video Games.Christopher Bartel - 2015 - Ethics and Information Technology 17 (4):285-293.
    Can a player be held morally responsible for the choices that she makes within a videogame? Do the moral choices that the player makes reflect in any way on the player’s actual moral sensibilities? Many videogames offer players the options to make numerous choices within the game, including moral choices. But the scope of these choices is quite limited. I attempt to analyze these issues by drawing on philosophical debates about the nature of free will. Many philosophers worry that, if (...)
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  29.  72
    The Art of Videogames.Grant Tavinor - 2009 - Wiley-Blackwell.
    The new art of videogames -- What are videogames anyway? -- On definition -- Theories of gaming -- A definition of videogames -- Videogames and fiction -- From tennis for two to worlds of warcraft -- Imaginary worlds and works of fiction -- Fictional or virtual? -- Interactive fiction -- Stepping into fictional worlds -- Welcome to rapture -- Meet niko bellic -- Experiencing game worlds -- Acting in game worlds -- Games through fiction -- The nature of gaming (...)
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  30.  12
    Video Feedback in Philosophy.Andy Lamey - 2015 - Metaphilosophy 46 (4-5):691-702.
    Marginal comments on student essays are a near-universal method of providing feedback in philosophy. Widespread as the practice is, however, it has well-known drawbacks. Commenting on students' work in the form of a video has the potential to improve the feedback experience for both instructors and students. The advantages of video feedback can be seen by examining it from both the professor's and the student's perspective. In discussing the professor's perspective, this article shares observations based on the (...)
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  31. Defending the Morality of Violent Video Games.Marcus Schulzke - 2010 - Ethics and Information Technology 12 (2):127-138.
    The effect of violent video games is among the most widely discussed topics in media studies, and for good reason. These games are immensely popular, but many seem morally objectionable. Critics attack them for a number of reasons ranging from their capacity to teach players weapons skills to their ability to directly cause violent actions. This essay shows that many of these criticisms are misguided. Theoretical and empirical arguments against violent video games often suffer from (...)
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  32.  30
    Generic Structures, Generic Experiences: A Cognitive Experientialist Approach to Video Game Analysis.Andreas Gregersen - 2014 - Philosophy and Technology 27 (2):159-175.
    The article discusses the issue of how to categorize video games—not the medium of video games, but individual video games. As a lead in to this discussion, the article discusses video game specificity and genericity and moves on to genre theory. On the basis of this discussion, a cognitive experientialist genre framework is sketched, which incorporates both general points from genre theory and theories more specific to the video game domain. The framework (...)
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  33. Is It Wrong to Play Violent Video Games?McCormick Matt - 2001 - Ethics and Information Technology 3 (4):277–287.
    Many people have a strong intuition that there is something morally objectionable about playing violent video games, particularly with increases in the number of people who are playing them and the games' alleged contribution to some highly publicized crimes. In this paper,I use the framework of utilitarian, deontological, and virtue ethical theories to analyze the possibility that there might be some philosophical foundation for these intuitions. I raise the broader question of whether or not participating in authentic (...)
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  34.  13
    Digitalizing Historical Consciousness.Claudio Fogu - 2009 - History and Theory 48 (2):103-121.
    What is a “historical” video game, let alone a successful one? It is difficult to answer this question because all our definitions of history have been constructed in a linear-narrative cultural context that is currently being challenged and in large part displaced by digital media, especially video games. I therefore consider this question from the point of view of historical semantics and in relation to the impact of digital technology on all aspects of the historiographical operation, from (...)
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  35.  51
    Video Games and the Transhuman Inclination.Robert M. Geraci - 2012 - Zygon 47 (4):735-756.
    Video games and virtual worlds play substantial roles in contemporary transhumanism. Many transhumanists appreciate the freedom and power that accompany these digital landscapes and recognize that they can promote transhumanist ways of thinking beyond the borders of explicitly transhumanist groups. Video games and virtual worlds enable transcendence through their design and contribute to transhumanism through the options they enable and the influence they have. Because of their significant place in transhumanism, video games and virtual (...)
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  36.  12
    Dewey and Video Games: From Education Through Occupations to Education Through Simulations.David I. Waddington - 2015 - Educational Theory 65 (1):1-20.
    Critics like Leonard Waks argue that video games are, at best, a dubious substitute for the rich classroom experiences that John Dewey wished to create and that, at worst, they are profoundly miseducative. Using the example of Fate of the World, a climate change simulation game, David Waddington addresses these concerns through a careful demonstration of how video games can recapture some of the lost potential of Dewey's original program of education through occupations. Not only do (...)
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  37.  18
    What's My Motivation? Video Games and Interpretative Performance.Tavinor Grant - 2017 - Journal of Aesthetics and Art Criticism 75 (1):23-33.
    The interpretation of character motivations is a crucial part of the understanding of many narratives, including those found in video games. This interpretation can be complicated in video games by the player performing the role of a player-character within the game narrative. Such performance finds the player making choices for the character and also interpreting the resulting character actions and their effect on the game's narrative. This can lead to interpretative difficulties for game narratives and their (...)
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  38.  15
    Reviewing Games of Empire: Global Capitalism and Video Games.Simon Ferrari & Ian Bogost - 2013 - Continent 3 (1):50-52.
    Nick Dyer-Witheford and Greig de Peuter. Games of Empire: Global Capitalism and Video Games . Minneapolis: University of Minnesota Press. 2009. 320pp. pbk. $19.95 ISBN-13: 978-0816666119. In Games of Empire , Nick Dyer-Witheford and Greig de Peuter expand an earlier study of “the video game industry as an aspect of an emerging postindustrial, post-Fordist capitalism” (xxix) to argue that videogames are “exemplary media of Empire” (xxix). Their notion of “Empire” is based on Michael Hardt and (...)
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  39. Embodied Metaphors in Film, Television, and Video Games: Cognitive Approaches.Kathrin Fahlenbrach (ed.) - 2015 - Routledge.
    In cognitive research, metaphors have been shown to help us imagine complex, abstract, or invisible ideas, concepts, or emotions. Contributors to this book argue that metaphors occur not only in language, but in audio visual media well. This is all the more evident in entertainment media, which strategically "sell" their products by addressing their viewers’ immediate, reflexive understanding through pictures, sounds, and language. This volume applies cognitive metaphor theory to film, television, and video games in order to analyze (...)
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  40. God in the Machine: Video Games and Religion.Liel Leibovitz - 2014 - Templeton Press.
    If he were alive today, what might Heidegger say about _Halo, _the popular video game franchise? What would Augustine think about _Assassin’s Creed _? What could Maimonides teach us about Nintendo’s eponymous hero, Mario? While some critics might dismiss such inquiries outright, protesting that these great thinkers would never concern themselves with a medium so crude and mindless as video games, it is impor­tant to recognize that games like these are, in fact, becoming the defining medium (...)
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  41. God in the Machine: Video Games as Spiritual Pursuit.Liel Leibovitz - 2014 - Templeton Press.
    If he were alive today, what might Heidegger say about _Halo, _the popular video game franchise? What would Augustine think about _Assassin’s Creed _? What could Maimonides teach us about Nintendo’s eponymous hero, Mario? While some critics might dismiss such inquiries outright, protesting that these great thinkers would never concern themselves with a medium so crude and mindless as video games, it is impor­tant to recognize that games like these are, in fact, becoming the defining medium (...)
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  42.  19
    Exploring Video Feedback in Philosophy.Tanya Hall, Dean Tracy & Andy Lamey - 2016 - Teaching Philosophy 39 (2):137-162.
    This paper explores the benefits of video feedback for teaching philosophy. Our analysis, based on results from a self-report student survey along with our own experience, indicates that video feedback possesses a number of advantages over traditional written comments. In particular we argue that video feedback is conducive to providing high-quality formative feedback, increases detail and clarity, and promotes student engagement. In addition, we argue that the advantages of video feedback make the method an especially (...)
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  43.  9
    Reasonableness and Language Games in Jurgen Habermas` Philosophy of Communication'.Mihai D. Vasile - 2008 - Proceedings of the Xxii World Congress of Philosophy 39:245-266.
    The point of view expressed in the present research is directed towards the ideational “torsion” from rationalism to the “language-games” drawing up an analysis according to which one can notice the rationalist and post-rationalist aspects in the philosophy of communication, and the consequences of these perspectives, which could be of great interest as regards the philosophical concepts related to communication, to man or to the human community. As a matter of fact, “the torsion” is only apparent; it cannot (...)
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  44.  15
    Playing with Sound: A Theory of Interacting with Sound and Music in Video Games.Karen Collins - 2013 - MIT Press.
    In "Playing with Sound," Karen Collins examines video game sound from the player's perspective.
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  45. Logic, Language-Games and Information: Kantian Themes in the Philosophy of Logic.Jaakko Hintikka - 1973 - Oxford, Clarendon Press.
    I LOGIC IN PHILOSOPHYPHILOSOPHY OF LOGIC i. On the relation of logic to philosophy I n this book, the consequences of certain logical insights for ...
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  46. Beyond Good and Evil? Morality in Video Games.Geert Gooskens - 2011 - Philosophical Writings (1):37-44.
  47.  4
    Action Video Games Do Not Improve the Speed of Information Processing in Simple Perceptual Tasks.Don van Ravenzwaaij, Wouter Boekel, Birte U. Forstmann, Roger Ratcliff & Eric-Jan Wagenmakers - 2014 - Journal of Experimental Psychology: General 143 (5):1794-1805.
  48.  4
    Video Games as Tools to Achieve Insight Into Cognitive Processes.Walter R. Boot - 2015 - Frontiers in Psychology 6.
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  49.  16
    Violent Video Games and Morality: A Meta-Ethical Approach.Garry Young - 2015 - Ethics and Information Technology 17 (4):311-321.
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  50. Should Vegetarians Play Video Games?Matthew Elton - 2000 - Philosophical Papers 29 (1):21-42.
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