It is increasingly asserted that the disagreements of abstract principle between adversaries in the euthanasia debate fail to account for the complex, particular and ambiguous experiences of people at the end of their lives. A greater research effort into experiences, meaning, connection, vulnerability and motivation is advocated, during which the euthanasia 'question' should remain open. I argue that this is a normative strategy, which is felicitous to the status quo and further medicalises the end of life, but which masquerades as (...) a value-neutral assertion about needing more knowledge. (shrink)

To be old is to face the end of life. This is not to say that young people never die. Nor that the old have nothing else to do, no valuable contribution still to make. But after old age comes death. That=s simply a biological fact. It will remain a fact regardless of the medical technologies.

I argue in this paper that animal biotechnology constitutes a dangerous ontological collapse between animals and the technical-economic apparatus. By ontological collapse, I mean the elimination of fundamental ontological tensions between embodied subjects and the principles of scientific, technological, and economic rationalization. Biotechnology imposes this collapse in various ways: by genetically “reprogramming” animals to serve as uniform commodities, by abstracting them into data and code, and, in some cases, by literally manipulating their movements with computer technologies. These and other forms (...) of ontological violence not only lead to profound physical suffering for the animals involved, but also distort the phenomenological basis of their existence, especially their perceptual experience and expression of subjective time and space. In subordinating nonhuman animals to the logic of “technological rationality” or “technique,” to borrow Herbert Marcuse and Jacques Ellul’s respective terms, biotechnology perpetuates the productive extermination of animals. Biotech animals are exterminated in the sense of being “drive[n] beyond the boundaries” of meaningful existence and “destroyed completely” or “completely wiped out” as subjects. But they are also exterminated in the sense of being “overproduced” and “overgenerated,” both quantitatively and qualitatively. I go on to argue that the collapse of the ontological is accompanied by a collapse of the ethical. This ethical collapse is characterized by the internalization of the logic of technique and the corresponding failure both within technoscientific culture itself and within some scholarly discourses about biotechnology to evaluate from a genuinely critical vantage point the fundamental ethical issues that animal biotechnology raises. The aim of this paper is to offer an alternative analysis of the ontological and ethical implications of biotechnology from the standpoint of Marcuse and Ellul’s critical theory of technology. To explore other ramifications of animal biotechnology, I draw on Theodor Adorno and Max Horkheimer’s insights into ideologies of extermination and Maurice Merleau-Ponty’s phenomenology of embodiment. (shrink)

Classical reducibilities have complete sets U that any recursively enumerable set can be reduced to U. This paper investigates existence of complete sets for reducibilities with limited oracle access. Three characteristics of classical complete sets are selected and a natural hierarchy of the bounds on oracle access is built. As the bounds become stricter, complete sets lose certain characteristics and eventually vanish.

The aim of the series of the three articles entitled “Name game…” is to present the historical information about nomenclature history of every known chemical element. The process of naming each chemical element is analyzed, with particular emphasis on the first publication with a given name. It turned out that in many cases this information is not obvious and unambiguous, and the published data are even contradictory. In a few cases, the names of the elements were changed even several (...) times. Moreover, even when the author of a given element name is known, it is sometimes not entirely clear in which publication he/she first used it. Therefore, the series of three articles are an attempt to sort out the issue of first publishing of the names of all 118 chemical elements known so far, based on original source texts, available thanks to the digitization of a number of collections of scientific literature. The articles are divided according to the time of discoveries: (1) research till the end of the 18th century, (2) discoveries in the 19th century, (3) discoveries and syntheses of elements in the 20th and 21st centuries. This particular article presents the history of naming of the first 37 elements: known from antiquity, discovered in nature and named in 17th and 18th century. (shrink)

This article is a theoretical and empirical exploration of the meaning that accompanies contractual agreements, such as the End-User License Agreements (EULAs) that participants of online communities are required to sign as a condition of participation. As our study indicates, clicking “I agree” on the often lengthy conditions presented during the installation and updating process typically permits third parties (including researchers) to monitor the digitally-mediated actions of users. Through our small-scale study in which we asked participants which terms of EULAs (...) they would find agreeable, the majority confirmed that they simply clicked through the terms presented to them without much knowledge about the terms to which they were agreeing. From a research ethics standpoint, we reflect upon whether or not informed consent is achieved in these cases and pose a challenge to the academic research community to attend to the socio-technical shift from informed consent to a more nebulous concept of contractual agreement, online and offline. (shrink)

This is a reply to Elisabeth Camp's and Elijah Millgram's probing discussions of "Games and the Art of Agency", in a symposium in Journal of Ethics and Social Philosophy. Millgram argues that games cannot function as a guide to life, because they are too different from life. Games are limited in a special way: in life, we deliberate about what goals we want to take on, but in games, the goals are fixed and given to us. Camp argues that there (...) is nothing particularly special about games, because the fluidity of agency is all over ordinary life too - games are just like ordinary life. I respond to Millgram: we do deliberate about our ends, in games, when we aesthetically reflect on which games to play. And I respond to Camp: games are distinctive in the way they regulate how our reasons flow across the game/life border. To respond to these criticisms, I add some substantial new features to my account of the motivational structure of game-play. (shrink)

In his philosophy of art history, Arthur C. Danto claims that in the 1960 ́s the master narrative of art had come to an end, and that we had reached the end of art. This conception has been widely considered, but also misunderstood. Hans Maes has recently discussed Danto's conception of the end of art in his article, where he clears some misconceptions about the thesis, but at the same time challenges Danto's analysis of contemporary art.

Games occupy a unique and valuable place in our lives. Game designers do not simply create worlds; they design temporary selves. Game designers set what our motivations are in the game and what our abilities will be. Thus: games are the art form of agency. By working in the artistic medium of agency, games can offer a distinctive aesthetic value. They support aesthetic experiences of deciding and doing. -/- And the fact that we play games shows something (...) remarkable about us. Our agency is more fluid than we might have thought. In playing a game, we take on temporary ends; we submerge ourselves temporarily in an alternate agency. Games turn out to be a vessel for communicating different modes of agency, for writing them down and storing them. Games create an archive of agencies. And playing games is how we familiarize ourselves with different modes of agency, which helps us develop our capacity to fluidly change our own style of agency. (shrink)

Let o(κ) denote the Mitchell order of κ. We show how to reduce long games which run to the first ordinal admissible in the play, to iteration games on models with a cardinal κ so that (1) κ is a limit of Woodin cardinals: and (2) o(κ) = κ⁺⁺. We use the reduction to derive several optimal determinacy results on games which run to the first admissible in the play.

Games may seem like a waste of time, where we struggle under artificial rules for arbitrary goals. The author suggests that the rules and goals of games are not arbitrary at all. They are a way of specifying particular modes of agency. This is what make games a distinctive art form. Game designers designate goals and abilities for the player; they shape the agential skeleton which the player will inhabit during the game. Game designers work in the (...) medium of agency. Game-playing, then, illuminates a distinctive human capacity. We can take on ends temporarily for the sake of the experience of pursuing them. Game play shows that our agency is significantly more modular and more fluid than we might have thought. It also demonstrates our capacity to take on an inverted motivational structure. Sometimes we can take on an end for the sake of the activity of pursuing that end. (shrink)

After the novel, and subsequently cinema privileged narrative as the key form of cultural expression of the modern age, the computer age introduces its correlate — database. Why does new media favour database form over others? Can we explain ist popularity by analysing the specificity of the digital medium and of computer programming? What is the relationship between database and another form, which has traditionally dominated human culture — narrative? In addressing these questions, I discuss the connection (...) between computer's ontology — the way software represents the world — and the new cultural forms privileged by computer culture such as database. I propose that computerisation of culture involves projection of two fundamental parts of computer software — data structures and algorithms — onto the cultural sphere. Thus CD-ROMs and Web databases are cultural manifestations of one half of this ontology — data structures; while new media narratives are manifestations of the second part — algorithms. I conclude by proposing that in computer culture database and narrative do not have the same status. Given that on the level of data organisation most new media objects are databases, it is not surprising that on the level of form database also dominates new media culture. (shrink)

How do we prepare engineering students to make ethical and responsible decisions in their professional work? This paper presents an approach that enhances engineering students’ engagement with ethical reasoning by simulating decision-making in a complex scenario. The approach has two principal inspirations. The first is Anthony Weston’s scenario-based teaching. Weston’s concept of a scenario is a situation that changes in response to choices made by participants, according to an inner logic. Scenarios can dynamically explore open-ended complex problems without imposing predetermined (...) results, allowing students to apply their ethical reasoning in a more realistic fashion. The second inspiration is Thi Nguyen’s theory of games. According to Nguyen, games are the “art of agency,” meaning that they provide a structure under which some result is agreed to be valuable, along with prescribed ways of achieving that result, in a relatively low-stakes and temporary social arrangement. By playing many games, Nguyen argues, we can develop a “library of agency,” that is to say, a set of values and means to achieving them that can inform how we make high-stakes decisions in real life. Engaging with carefully designed game scenarios, then, can enable students to practice making ethical decisions within a structured framework, which unfolds in response to their choices, while their decisions are driven by some defined goal. This roleplaying game–based approach thus allows students to build their own ethical libraries of agency, in preparation for professional decision-making. The approach is illustrated using a specific example recently deployed in a seminar on engineered living materials (building materials that incorporate living tissues). The scenario uses techniques from tabletop roleplaying games (e.g. Dungeons & Dragons) for outcome resolution, adventure design, and character creation. Through the game, students practice making difficult decisions in a humanitarian context. (shrink)

The interaction between the concepts of character attachment, agency, and choice in a video game narrative was investigated using BioWare’s Mass Effect trilogy. Posts on a BioWare forum discussing the depiction of their player characters in the ending sequences of Mass Effect 3, the final game in the trilogy, were downloaded and analyzed using thematic analysis. Players demonstrated emotional attachment for the characters and narrative and expected to see the consequences of their choices play out, as in the (...) previous games. Furthermore, players conflated winning the game with achieving a narratively satisfactory ending for the game world and its characters indicating emotional consequences for players that developers should consider when designing games with a high degree of player choice and agency. However, for some players character attachment is incongruous as they described Shepard as “acting out of character,” which needs further research. (shrink)

Is capitalism inherently predatory? Must there be winners and losers? Is public interest outdated and free-riding rational? Is consumer choice the same as self-determination? Must bargainers abandon the no-harm principle? Prisoners of Reason recalls that classical liberal capitalism exalted the no-harm principle. Although imperfect and exclusionary, modern liberalism recognized individual human dignity alongside individuals' responsibility to respect others. Neoliberalism, by contrast, views life as ceaseless struggle. Agents vie for scarce resources in antagonistic competition in which every individual seeks dominance. This (...) political theory is codified in non-cooperative game theory; the neoliberal citizen and consumer is the strategic rational actor. Rational choice justifies ends irrespective of means. Money becomes the medium of all value. Solidarity and good will are invalidated. Relationships are conducted on a quid pro quo basis. However, agents can freely opt out of this cynical race to the bottom by embracing a more expansive range of coherent action. (shrink)

The paper has a twofold aim. On the one hand, it provides what appears to be the first game-theoretic modeling of Napoleon’s last campaign, which ended dramatically on 18 June 1815 at Waterloo. It is specifically concerned with the decision Napoleon made on 17 June 1815 to detach part of his army against the Prussians he had defeated, though not destroyed, on 16 June at Ligny. Military historians agree that this decision was crucial but disagree about whether it was (...) rational. Hypothesizing a zero-sum game between Napoleon and Blücher, and computing its solution, we show that it could have been a cautious strategy on the former's part to divide his army, a conclusion which runs counter to the charges of misjudgement commonly heard since Clausewitz. On the other hand, the paper addresses methodological issues. We defend its case study against the objections of irrelevance that have been raised elsewhere against “analytic narratives”, and conclude that military campaigns provide an opportunity for successful application of the formal theories of rational choice. Generalizing the argument, we finally investigate the conflict between narrative accounts – the historians' standard mode of expression – and mathematical modeling. (shrink)

This is a two-volume set that provides an introduction to non-cooperative Game Theory. Volume 1 covers the basic concepts, while Volume 2 is devoted to advanced topics. The book is richly illustrated with approximately 400 figures. It is suitable for both self-study and as the basis for an undergraduate course in game theory as well as a first-year graduate-level class. It is written to be accessible to anybody with high-school level knowledge of mathematics. At the end of each (...) chapter there is a collection of exercises accompanied by detailed answers. The book contains approximately 180 exercises. (shrink)

In this paper we propose and analyze a game-theoretic model of the epistemology of peer disagreement. In this model, the peers' rationality is evaluated in terms of their probability of ending the disagreement with a true belief. We find that different strategies---in particular, one based on the Steadfast View and one based on the Conciliatory View---are rational depending on the truth-sensitivity of the individuals involved in the disagreement. Interestingly, the Steadfast and the Conciliatory Views can even be rational simultaneously (...) in some circumstances. We tentatively provide some reasons to favor the Conciliatory View in such cases. We argue that the game-theoretic perspective is a fruitful one in this debate, and this fruitfulness has not been exhausted by the present paper. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Database of Classical Bibliography ed. by Dee. L. ClaymanGerald A. PressDee. L. Clayman, editor. The Database of Classical Bibliography. CD-ROM and manual. Atlanta: Scholars Press, 1997. Pp. xvi + 120. $85 (individual); $340-2400 (institutional).L ’Annee Philologique (APh) has long been one of the most important scholarly resources for students of the history of ancient philosophy. Even though in print form it contains errors and omissions, (...) has become of unwieldy size, and does not appear promptly enough for up-to-date research, there is no other single source of such international comprehensiveness. It is far more inclusive in many respects than The Philosopher’s Index.The Database of Classical Bibliography (DCB) is a long-term project sponsored by the N.E.H., the American Philological Association and others to make the full contents of APh accessible from a CD-ROM either from individual PCs or on a local network. Unlike the Thesaurus Linguae Graecae, the DCB CD-ROM comes with its own search software (DCB CompLex) on the disk. This software is set up both for IBM and MAC machines, installs quickly, and operates extremely well. The manual gives clear instructions both for general use and for detailed search strategies. CompLex enables the user to search DCD in many different ways; e.g., by ancient or modern authors and works, by titles, publisher, place of publication, year of publication, journal, modern language, or series name, as well as by APh volumes, years, page numbers, rubrics, and topics. It can also search by any word in a modern language (i.e., in Roman characters) or for words in a Greek index. And CompLex enables one to perform more complex searches utilizing wildcards and Boolean operators in a user-friendly form.DCB Version 2, containing Volumes 45–60 (1974–1989), fulfills the editor’s initial commitment to make a new release available each year with the addition of three to five years, since it includes four years of APh (1973–74 and 1988–89) not on Version 1. Also new in Version 2 is a French interface and manual.DCB has faults, however. It repeats mistakes that appeared in the print version of APh and contains other mistakes that did not originate in APh. Many were noted in reviews of Version 1, but this should not be surprising in a work of such magnitude as either APh or DCB. What is perhaps disturbing is that errors noted in Version 1 have not been corrected in Version 2, though it would not seem difficult to make use of the information provided by careful reviewers.Nevertheless, DCB is a terrific scholarly tool. No college or university library should be without it. [End Page 619]Gerald A. PressHunter CollegeCopyright © 1998 Journal of the History of Philosophy, Inc... (shrink)

Mediation is a process in which two parties agree to resolve their dispute by negotiating over alternative solutions presented by a mediator. In order to construct such solutions, the mediator brings more information and knowledge, and, if possible, resources to the negotiation table. In order to do so, the mediator faces the challenge of determining which information is relevant to the current problem, given a vast database of knowledge. The contribution of this paper is the automated mediation machinery to (...) resolve this issue. We define the concept of a Mediation Problem and show how it can be described in Game Description Language. Furthermore, we present an algorithm that allows the mediator to efficiently determine which information is relevant to the problem and collect this information from the negotiating agents. We show with several experiments that this algorithm is much more efficient than the naive solution that simply takes all available knowledge into account. (shrink)

What is a game? What are we doing when we play a game? What is the value of playing games? Several different philosophical subdisciplines have attempted to answer these questions using very distinctive frameworks. Some have approached games as something like a text, deploying theoretical frameworks from the study of narrative, fiction, and rhetoric to interrogate games for their representational content. Others have approached games as artworks and asked questions about the authorship of games, about the ontology of (...) the work and its performance. Yet others, from the philosophy of sport, have focused on normative issues of fairness, rule application, and competition. The primary purpose of this article is to provide an overview of several different philosophical approaches to games and, hopefully, demonstrate the relevance and value of the different approaches to each other. Early academic attempts to cope with games tried to treat games as a subtype of narrative and to interpret games exactly as one might interpret a static, linear narrative. A faction of game studies, self-described as “ludologists,” argued that games were a substantially novel form and could not be treated with traditional tools for narrative analysis. In traditional narrative, an audience is told and interprets the story, where in a game, the player enacts and creates the story. Since that early debate, theorists have attempted to offer more nuanced accounts of how games might achieve similar ends to more traditional texts. For example, games might be seen as a novel type of fiction, which uses interactive techniques to achieve immersion in a fictional world. Alternately, games might be seen as a new way to represent causal systems, and so a new way to criticize social and political entities. Work from contemporary analytic philosophy of art has, on the other hand, asked questions whether games could be artworks and, if so, what kind. Much of this debate has concerned the precise nature of the artwork, and the relationship between the artist and the audience. Some have claimed that the audience is a cocreator of the artwork, and so games are a uniquely unfinished and cooperative art form. Others have claimed that, instead, the audience does not help create the artwork; rather, interacting with the artwork is how an audience member appreciates the artist's finished production. Other streams of work have focused less on the game as a text or work, and more on game play as a kind of activity. One common view is that game play occurs in a “magic circle.” Inside the magic circle, players take on new roles, follow different rules, and actions have different meanings. Actions inside the magic circle do not have their usual consequences for the rest of life. Enemies of the magic circle view have claimed that the view ignores the deep integration of game life from ordinary life and point to gambling, gold farming, and the status effects of sports. Philosophers of sport, on the other hand, have approached games with an entirely different framework. This has lead into investigations about the normative nature of games—what guides the applications of rules and how those rules might be applied, interpreted, or even changed. Furthermore, they have investigated games as social practices and as forms of life. (shrink)

Kripke’s substitutional interpretation of quantifiers is usually said to be unsatisfactory for independence-friendly (IF) languages. The purpose of this paper is to question this claim. Two accounts of substitutional semantics for IF sentences will be written down, and the objection of the so-called ‘dummy variables’ will be ruled out. Moreover, it will be argued, against the traditional view, that Game-Theoretical Semantics (GTS) should be conceived of as substitutional. The paper ends with some remarks concerning the reasons why substitution is (...) especially suitable for dynamic semantics. (shrink)

Some video games are said to be philosophical. Despite video games having received some attention in academic philosophy, that contention has not been sufficiently addressed. This paper investigates in what sense video games might be properly called “philosophical”. To this end, I utilize Wittgenstein’s distinction between saying and showing to get into view how some video games might be properly called philosophical. This leads to two senses of being philosophical: a conventional sense of expressing philosophy through propositions, i.e., through saying, (...) and a sense of being genuinely philosophical by expressing philosophical thought through showing. I argue that the conventional sense is not sufficient to call video games philosophical, leaving the question whether there are video games which satisfy the conditions of being genuinely philosophical. I furthermore contend that there are at least some examples of video games which qualify as being philosophical, e.g., Papers, Please and The Stanley Parable. (shrink)

Criminal intelligence data poses problems for conventional database technology. It has little structure or homogeneity and queries may involve looking for unknown associations between entities; such open-ended queries cannot be made in current systems. Finally, the data must be presented in an intuitively simple fashion for both investigative and evidential purposes. We discuss a database system which uses a labelled graph as its data model. This approach obviates the need for schema design, allows queries which look for associations (...) between entities to be implemented and provides the basis for a natural visual representation of the data. (shrink)

Industrial development in recent decades has led to using information and communication technologies to support personnel selection processes. One of the most notable examples is game-related assessments, supposedly as accurate as conventional tests but which generate better applicant reactions and reduce the likelihood of adverse impact and faking. However, such claims still lack scientific support. Given practitioners’ increasing use of GRA, this article reviews the scientific literature on gamification applied to personnel selection to determine whether the current state of (...) the art supports their use in professional practice and identify specific aspects on which future research should focus. Following the PRISMA model, a search was carried out in the Web of Science and Scopus databases, identifying 34 valid articles, of which 85.3% are empirical studies that analyze five areas: validity; applicant reactions; design of GRA; personal characteristics and GRA; and adverse impact and faking. Together, these studies show that GRA can be used in personnel selection but that the supposed advantages of GRA over conventional tests are fewer than imagined. The results also suggest several aspects on which research should focus, which could help define the situations in which the use of GRA may be recommended. (shrink)

A generalization of the standard n-person game is presented, with flexible information requirements suitable for players constrained by bounded rationality. Strategies (complete contingency plans) are replaced by "policies," i. e., end-mean pairs of candidate goals and "controls" (partial contingency plans). The existence of individual objective functions over the joint policy choice set is axiomatized in terms of primitive preference and probability orders. Conditions are given for the existence of pure policy Nash equilibrium points in n-person games, and pure policy (...) Nash bargaining and equilibrium threat solutions in 2-person policy games. Connectedness of the policy and payoff sets is not required. (shrink)

In this article, Pierre Hadot examines the late philosophy of Ludwig Wittgenstein and the so-called “linguistic turn” in philosophy and the social sciences. Although certain interpreters of Wittgenstein have thought that Philosophical Investigations shows philosophy to be predicated on a series of confusions based on the misuse of language, Hadot argues contrarily that an understanding of Wittgenstein’s idea of “language games”—far from ending philosophy—allows us to see it anew and to discern the source of some of its deepest perplexities. Of (...) particular concern is the notion of the ancient idea of philosophical discourse as intrinsically connected to various forms of apprenticeship or spiritual formation. It is in this context that the supposed inconsistencies and unusual repetitions of ancient philosophy can be understood. Only from the Middle Ages do philosophical language games begin slowly to become detached from certain kinds of training, of pedagogies connected to forms of life, and become texts—and “systems”—in the sense of being written for the purposes of merely conventional reading. (shrink)

Although it may seem from its formalism that game theory must have sprung from the mind of John von Neumann as a corollary of his work on computers or theoretical physics, it should come as no real surprise to philosophers that game theory is the articulation of a historically developing philosophical conception of rationality in thought and action. The history of ideas about rationality is deeply contradictory at many turns. While there are theories of rationality that claim it (...) is fundamentally social and aims at understanding and molding all facets of human psychological life, game theory takes rationality to be essentially located in individuals and to concern only the means to achieve predetermined ends. Thus, there are some thinkers who have made important contributions to this history who do not appear in the story of game theory at all, among them, Plato, Kant, and Hegel. There is, however, a clear trail to follow linking theories of instrumental rationality from Aristotle to the nineteenth-century marginalist economists and ultimately to von Neumann and Morgenstern and contemporary game theorists, that historically grounds game theory as a model of rational interaction. (shrink)

Although it may seem from its formalism that game theory must have sprung from the mind of John von Neumann as a corollary of his work on computers or theoretical physics, it should come as no real surprise to philosophers that game theory is the articulation of a historically developing philosophical conception of rationality in thought and action. The history of ideas about rationality is deeply contradictory at many turns. While there are theories of rationality that claim it (...) is fundamentally social and aims at understanding and molding all facets of human psychological life, game theory takes rationality to be essentially located in individuals and to concern only the means to achieve predetermined ends. Thus, there are some thinkers who have made important contributions to this history who do not appear in the story of game theory at all, among them, Plato, Kant, and Hegel. There is, however, a clear trail to follow linking theories of instrumental rationality from Aristotle to the nineteenth-century marginalist economists and ultimately to von Neumann and Morgenstern and contemporary game theorists, that historically grounds game theory as a model of rational interaction. (shrink)

This paper considers the concept of a good game in terms of its relation to the fair testing of relevant skills and their aesthetic values. As such, it will consider what makes football ‘the beautiful game’ and what part penalty shoot-outs play, or should play, within it. It begins by outlining and refuting Kretchmar’s proposal that games which end following the elapsing of a set amount of time, such as football, are structurally, morally and aesthetically inferior to games (...) which end following the attainment of a designated goal. Instead, it is suggested that the structural deficits of t-games are compensated by the fact that they allow for a fuller test of more valuable open skills than the closed skills that tend to define e-games, such as golf. Moreover, it is the rationing of time in t-games that provides an added aesthetic value that does not occur in e-games. Finally, it is concluded that although it may appear that the existence of the penalty shoot-out supports Kretchmar’s argu.. (shrink)

Toward the end of Light in August, in the climactic scene in Chapter 1 where the authorities of justice pursue the elusive Joe Christmas through the streets of Jefferson, William Faulkner introduces a new character, Percy Grimm, a twenty-five-year-old captain in the State National Guard who has relentlessly acquired the rank of a special deputy for the search. As the town closes for the weekend, Grimm keeps vigil at a downtown store where other townsfolk have begun a poker game (...) to stay awake through the night as the search goes on. In their zeal to uphold law and justice, his men revel in their fantastic make-believe that they are doing the work of “a hidden and unsleeping and omnipotent eye watching the doings of men.” The poker game goes on through Saturday night until Christmas is spotted and given chase. As Grimm runs through the streets after the fleeing man, Faulkner presents to us the deputy's stream of thought from an omniscient point of view: “There was nothing vengeful about him either, no fury, no outrage. He was moving again almost before he had stopped, with that lean, swift, blind obedience to whatever Player moved him on the Board” (437). Through the rest of the chapter, Grimm, who has not participated in the poker game at all, thinks and acts as if he is engaged in a chess game, not as a player but as the stake or the pawn in a board game in which Jefferson is the board on which he and Christmas are being moved from place to place by two larger forces, he by the benevolent Providence and Christmas by the powers opposed to God. Finally, when Christmas is cornered and fatally shot in Reverend Hightower's kitchen, this fantasized game seems to end. (shrink)

Is arguing over ontology a mistake? A recent proposal by Karen Bennett suggests that some metaphysical disputes, such as those over constitution and composition, can be dismissed on epistemic grounds. Given that both sides in a dispute try to minimize the differences between them, there are no good metaphysical grounds for choosing between them. In this paper, I expand on her epistemic dismissivism, arguing that given the Quinean conception of the task and method of metaphysics, we are warranted in believing (...) that all ontological disputes will end in a draw, even if they have not yet done so. By a draw, I mean that while both sides in a dispute are genuinely disagreeing about what there is and there are still moves open to them, there are no moves remaining that will advance the discourse further. (shrink)

Ethics in video gaming is broad topic that extends beyond the familiar instances of “moral panics”. This chapter will first divide ethical issues into internal and external moral questions. Roughly, this equates to a distinction between the ethics in games and the ethics of games. The ethical issues internal to video games arise due to both their status as fictions and their status as games. Many games afford players the opportunity to perform violent and vicious acts; however, these are of (...) course fictional actions and are often contextualized as part of the game’s competitive play. This raises the general question whether it can ever be morally wrong to perform some fictional action in a video game. To approach this question, this section will first consider how moral values are inherent within games. Players engage with the embedded moral values of games both at the level of their narratives and their rules. Games become objects for moral reflection, not only through the stories that they tell, but also through the ways in which players are invited to engage actively with those stories. Next, external ethical issues are those that focus on the nature of the gaming industry and gaming cultures. The gaming industry has notoriously struggled with representations of gender and race, both in their workforce and in the games that they produce. Turning to the ecological impacts, the gaming industry is a major source of e-waste through the production of gaming technologies. The hardware used in gaming has a lifecycle that begins with the exploitation of resource-rich developing countries that produce the precious materials used in computer screens and processing chips and ends with those same products being dumped in toxic landfills in other developing countries. Additionally, gaming is a major source of energy consumption, particularly as cloud gaming servers are required to run continuously. When considering the ethics of games, such social and ecological concerns must surely figure in one’s moral calculation. Finally, some moral issues straddle the line between the above distinction between internal and external due to the porous nature of virtual interactivity, particularly regarding multiplayer games. Various gaming cultures struggle with their own ethical issues—from the failure to promote sportsmanship in e-sports to the widespread harassment of players in online platforms. This final section will briefly consider problems with multiplayer games, harassment, and trolling. (shrink)

UNESCO in the 2030 agenda for sustainable development establishes respect for the environment and sustainability education as key elements for the challenges of society in the coming years. In the educational context, physical education can have a vital role in sustainability education, through Traditional Sporting Games. The aim of this research was to study from an ethnomotor perspective the different characteristics of two different groups of TSG in the Canary Islands, Spain. The corpus of this investigation was made up of (...) 513 TSG, identified by two analysis techniques and collected in a database. The categories corresponding to the variables of the internal logic of the game were the type of motor interaction, related to space, relationships with time, and relationships with objects. The study also examined the variables of external logic or sociocultural conditions such as the protagonists, playing areas, and game moments. The data analysis was carried out using descriptive and inferential statistics: cross-tables, effect sizes, classification trees, and the identification of frequency areas. Of the total number of playful activities identified, most were physical activities. These activities were Quasi-games without rules and TSG as well as activities with Objects and without material. This research confirms that the TSG in the Canary Islands is a mirror of traditional culture and, from a pedagogical approach, shows great potential for material and social sustainability. (shrink)

Two-player, zero-sum, non-cooperative, blindfold games in extensive form with incomplete information are considered in this paper. Any information about past moves which players played is stored in a database, and each player can access the database. A polynomial game is a game in which, at each step, all players withdraw at most a polynomial amount of previous information from the database. We show resource-bounded determinacy of some kinds of finite, zero-sum, polynomial games whose pay-off sets (...) are computable by non-deterministic polynomial-time function-oracle Turing machines. We call a pay-off set -determined if, for any polynomial game G associated with the given pay-off set, either player has a winning strategy which is in for any subgames of G. We show that there exists an FP-strongly-determined pay-off set which is computed by an exponential-time oracle Turing machine, where FP is the set of polynomial-time computable functions. We also discuss several relationships between the determinacy of polynomial games and recursion-theoretic properties for the classes co-NP and co-NEXP. We show that the polynomial version of the axiom of choice holds under some assumption of polynomial determinacy for a pay-off set which is polynomial-time computable with parallel queries. This principle of choice implies that co-NP has the separation property. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Game ChangeMaximo CortezOn November 17, 1983, I was born with a condition called mixed gonadal dysgenesis, and ambiguous genitalia. My gender was not of a big concern at that time. The more urgent matter was that I had a heart murmur, which was repaired when I was twelve months old. [End Page E5]It was not until I turned five, and by issue of the Texas Children’s Protective Services (...) (CPS), that my mother was forced to authorize providers to perform normalization surgeries on me. An anonymous caller tipped the CPS that my mother was raising a boy as a girl. The state intervened and explained to my mother that she would have to consent to these surgeries or else she would lose custody of me. This included a gonadectomy and a clitorectomy. Without any consent, these surgeries were performed “in my best interests.” My mother was an epileptic, Hispanic, Mormon, single parent.I was raised to be a socially acceptable female, though as early as five, I played with “boy” toys and enjoyed TV programs aimed at male youth, like Teenage Mutant Ninja Turtles. It was not until I had those normalization surgeries performed on me that I felt different. I knew that something major had happened to me. I woke up in a hospital bed in a gown. I raised the covers and noticed that I had an “X” carved in my groin area. Doctors mutilated my clitoris by reducing its size, which made me feel alienated and angry that something was wrong with my body.I had a surgery performed on me that was to be kept secret and never talked about. This sense of fear and shame was instilled in me shortly after the surgery. I do not recall any psychological evaluations or counseling to help me cope with such surgeries. Seeing everyone else my age going through puberty during my teenage years, I felt behind. I wasn’t becoming a boy with a deep voice or facial hair. Instead, I visited the doctor’s office with my mom and was told that I would be taking oral estrogen to become a woman. I wasn’t until that moment that I understood I was seeing a doctor to foster the development of female secondary characteristics. I felt betrayed by the medical community and by my own mother.Just a few years later, I saw a urologist to find out whether I was ready for a vaginal construction surgery (vaginoplasty). Thankfully the urologist suggested that I was not ready to move forward with an invasive and irreversible vaginal construction surgery. I never pursued it as an adult, as I have always felt male gendered.Social sexual relationships have always been difficult for me but more so with my attraction to women. I first realized my attraction to women in early middle school. Being raised Mexican and a Mormon and knowing that I was homosexual created a lot of conflict for me. I felt that I was a male–gendered person forced into a castrated, mutilated, and medically created female body. I suffered through depression from an early age and it continues today. My conservative Mormon upbringing brought me much shame. The Mormon religion, as most people understand it, expresses a great intolerance to homosexuals and transgender people. I felt like I was a heterosexual male in a female’s body, but the Mormons would never accept me.My later teenage years and mid–twenties were a dark time in my life. I even attempted suicide in my early twenties. My depression was treated with antidepressants and talk therapy. Once I began testosterone, I gradually stopped taking antidepressants. When I was only on estrogen, I felt very moody, angry, and in an emotional funk. I would cry easily and would become very irritable and emotional without cause. With testosterone therapy, I began to think more clearly, had balanced emotions, and began to think more logically.I began to research intersex online and found a women’s androgen insensitivity (AIS) support group. At one of their national conferences, I met another intersex individual who was raised as a female and who had transitioned to male. Like me... (shrink)

Is game theory good for us? This may seem an odd question. In the strict sense, game theory—the axiomatic account of interaction between rational agents—is as morally neutral as arithmetic. But the popularization of game theory as a way of thinking about social interaction is far from neutral. Consider the contrast between characterizing bargaining over distribution as a “zero-sum society” and focussing on “win-win” cooperative solutions. These reflections bring us to the book under review, Prisoner's Dilemma, a (...) popular introduction to game theory and its relation to ethics by the respected science writer William Poundstone. The book begins with a moral dilemma and ends by discussing the evolution of co-operation. Poundstone emphasizes—correctly, to my mind—the ethical potential of game theory. He concludes his first chapter with this striking claim: “Today's practitioners of game theory are attempting to forge a kind of ethical progress. Is there any way to promote the common good in a prisoner's dilemma? The attempt to answer this question is one of the great intellectual adventures of our time”. (shrink)

Non-determined game logic is the logic of two player board games where the game may end in a draw: unlike the case with determined games, a loss of one player does not necessarily constitute of a win of the other player. A calculus for non-determined game logic is given in [4] and shown to be complete. The calculus adds a new rule for the treatment of greatest fixpoints, and a new unfolding axiom for iterations of the universal (...) player. The technique of the completeness proof is inspired by the canonical model construction for propositional dynamic logic (PDL). In this paper, this is extended to the logic of determined games. It is proved that the calculus for nondetermined game logic, together with the axiom of determinacy, is complete for determined game logic. Next, it is shown that the axioms and rules of the new calculus can all be derived from the calculus proposed by Parikh in [5], for which the completeness was still open. This proves Parikh’s conjecture that his calculus is complete for determined games. (shrink)

Did Wittgenstein think that language-games have presuppositions? He sometimes speaks as if he thought that they do, at other times as though he thought that they do not. For examples, in On Certainty 110, after pointing out that the business of giving grounds for what we say has to come to an end sometime, he remarks, ‘but the end is not an ungrounded presupposition’; whereas, in 115, after warning us that if we try to doubt everything we shall not get (...) as far as doubting anything, he gives as his reason ‘the game of doubting itself presupposes certainty’. It is of some importance for a correct understanding of Wittgenstein to clear up this apparent contradiction. (shrink)

Since Neumann and Morgenstern’s theory of games, the debate among social scientists, economists, mathematicians, and social philosophers about what kind of theory it is has not ended. Some think that it is a new interdiscipline, some that it is a mere accumulation of gametheoretical models, such as utility theory, competitive, cooperative, collective choice models, and so on. Most of them agree that the models of game theory deal with isolated, single, and independent specific societal interactions between individuals who wish (...) to maximize their gains and minimize their losses within prescribed constraining rules. (shrink)

Terra nova 2.0 -- The real problem -- Social contract 2.0 -- In the face of others -- Open-ended conclusions.

In lieu of an abstract, here is a brief excerpt of the content:Wittgenstein’s Reflection in Lewis Carroll’s Looking-GlassLeila S. MayAccording to one tradition in the theory of fiction, there is a kind of fantasy whose function is to invite the reader to "acknowledge the possibility of a different reality."1 In this essay I want to ask whether Lewis Carroll's Alice books fit into this category; that is, I want to explore the possibility that Alice's Adventures in Wonderland and Through the (...) Looking-Glass are not the pure nonsense that many readers take them to be. In considering the Alice books as fantasy offering a view of a "different reality" I do not deny that there are in these stories some mimetic elements alongside the fantastic—representations of things going on somewhere, somehow, in Victorian society—in which case the "different reality" presented will not be so terribly different as to be unrecognizable. For example, the Mad Tea Party in Alice's Adventures in Wonderland is not only an act of fantasy but also an act of mimesis. It certainly imitates the real tea parties often held throughout Victorian England—if caricature is a form of imitation—but it may also mime those mock tea parties held in English asylums whose goal was to model sane-like behavior to the inmates.2 An analogous question can be asked about Carroll's books in general: In addition to the component of fantasy, are they mimetic of Victorian culture itself, or merely of the Victorian conception of madness? Michel Foucault has argued that, while the very idea of la folie is an historical construct, the dialectical relationship between reason and unreason, with each pole parasitic on the other, is a structural constant. Carroll's Alice books produce images that are discharged in the confused nineteenth-century landscape where these two opposites meet. In that respect, his books are not so different from many of the more standard novels written in mid-century England. In this essay I [End Page 79] will explore features of this landscape, using a theoretical framework that has been synthesized from a number of related claims in the work of the linguistic philosopher Ludwig Wittgenstein. In addition to my long-range aim of urging further study of Wittgenstein's work by literary critics, one of my specific goals is to show that the application of Wittgensteinian methods to the works of Lewis Carroll reveals something about the hidden logic of Carroll's stories, and conversely that this procedure tests some of Wittgenstein's intuitions concerning language. Yet another goal is to suggest that the structure of the discourse of domesticity as reflected in many mid-nineteenth-century novels is curiously similar to the structure of discourse in Wonderland and Looking-Glass Land—that the language-games played at these sites are at the same time functional and dysfunctional in much the same way. That may seem like a lot to attempt in a few pages,... but to paraphrase Humpty-Dumpty, when I ask words to do that much extra work, I pay them overtime.In 1965 the philosopher George Pitcher published an essay, "Wittgenstein, Nonsense, and Lewis Carroll," in which he sought to demonstrate "the remarkable extent and depth of affinity between these two great writers with respect to nonsense." In addition, he showed that "the very same confusions with which Wittgenstein charged philosophers were deliberately employed by Carroll for comic effect," and that many of the examples that Wittgenstein used to illustrate his points "resemble, in varying degrees, examples that are found in the works of Carroll."3 While I agree with Pitcher's observation that the examples of nonsense that Wittgenstein offers are very similar to a primary strain of nonsense that runs through the Alice books, in the first section I intend to go beyond that observation and to apply some of Wittgenstein's tools to Carroll's work and show that Wittgenstein's work can be used to reveal features of literary narrative that might otherwise be obscured, and in the second section, to apply these tools to the works of fiction this side of the Looking-Glass.IWittgenstein says that a language is a "language-game." He... (shrink)

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 Antonio Negri’s Empire (2000), (...) which characterizes the contemporary world order as a decentralized system of global economic, political, and economic power that transcends national boundaries. In the view of the authors, Hardt and Negri’s account sets itself apart from other analyses of international politics by offering a “comprehensive account of conditions of work, forms of subjectivity, and types of struggle in contemporary capital” (xx). Dyer-Witheford and de Peuter thus divide Games of Empire into three sections to reflect each of these aspects of Empire ’s argument, seeing their work as the first account to explore “virtual games within a system of global ownership, privatized property, coercive class relations, military operations, and radical struggle” (xxix). Books in the University of Minnesota Press’s Electronic Mediations series “explore the humanistic and social implications” of new technologies that spark “significant changes in society and culture, politics and economics, thinking and being.” That’s an abstract goal, and one that Games of Empire surely meets. Yet at times it can be difficult to understand exactly which specific intervention this book seeks to make. It is unclear whether the authors of Games of Empire see their work as an indictment of game scholars’ lack of attention to political economy, or whether it’s a work of political theory hoping to show that other disciplines should be paying more attention to the production and play of videogames. Because Dyer-Witheford and de Peuter don’t directly criticize previous political critiques of gaming—such as Edward Castronova’s exploration of the “porous membrane” allowing two-way traffic between virtual economies and those of the real world, or Alexander Galloway’s unraveling of control protocols in algorithmic design, or Ian Bogost’s idea of political procedural rhetoric—they sometimes leave the reader wondering how to situate the book in the broader discourse on games and politics, either separately or together. Thus, Games of Empire might best be seen as an introduction to the writings of Hardt and Negri for game players and designers, rather than as a text for communicating the basic concepts of game studies and design. It is neither a truly new theory of games or digital media, nor is it a new theory of Empire—and that’s not a criticism. It is instead an introduction to Empire through popular culture, as Zizek does for Lacan in Looking Awry . If one were teaching an introductory course on contemporary political theory, this book would offer obvious inroads into Negri and Hardt’s thinking for a number of reasons. Despite its radical ideological bent, the book isn’t off-putting to readers who don’t necessarily share the authors’ politics. It synthesizes complex ideas from difficult thinkers like Marx, Foucault, and Guattari while integrating modifications and critiques of Empire theory itself. And although the book is dense, sometimes feeling longer than it actually is (just over 200 pages), Games of Empire maintains a breezy readability by tightly coupling core concepts of Empire theory to well-known games and widely-publicized conflicts within the videogame industry. The first section of the book focuses on immaterial labor, the accumulation of “cognitive capital,” and the global process of manufacturing videogame consoles. It is significant for the authors that videogames began as hacker experiments within research institutes of the military industrial complex, programmed on stolen time, before becoming a commodity (7). This is the first in a string of examples showing how creative dissidence and conflict fuel the continuing evolution of Empire’s control. Dyer-Witheford and de Peuter explain that the videogame industry now constitutes an international production apparatus dominating both creative work in developed nations and manual labor in developing ones. Because game industries in the United States, Western Europe, and Japan are predominately non-unionized, they serve as an exemplary system for analyzing how global capital exploits contemporary intellectual work—including an excellent analysis of the “EA Spouse” scandal of 2004. On the side of the consumer, the authors argue that rabid “console races” that drive the industry forward from a technological perspective serve to structure gamer identity and combat piracy; later in the book, these machines offer a window into the worlds of Congolese coltan mining and electronic waste (222-224). In the second section, Dyer-Witheford and de Peuter move on to deep case studies of individual games to show how the most popular game genres embed imperial assumptions about conflict, exchange, and urban life. First they argue that military training games such as Full Spectrum Warrior —co-developed by university researchers, industry developers, and military contractors—contribute to the “banalization” of war, a subjective state wherein perpetual preparedness for war is accepted as a part of everyday life (100). Chapter five covers Michel Foucalt’s notion of “biopower,” the extension of capital accumulation to life itself. The authors argue that virtual worlds such as World of Warcraft , which take market capitalism as a given and force players into essentialist roles and racial antagonisms, are organized to maximize control and profit (often on the backs of virtual currency “farmers” in China and southeast Asia). Finally, they criticize the naïve assumption that humor and cynicism in the popular sandbox game franchise Grand Theft Auto offer any remedy to its racialized, violent content. Instead, such games indulge and normalize the fantasy of getting rich at any cost by keeping the realities of contemporary urban life and corporate greed at a safe distance (181). Part three of Games of Empire focuses on “games of multitude,” a preliminary attempt to escape from Empire’s order through alternate modes of videogame development and play. Multitude is defined dialectically, as “the engine and the enemy” of Empire (187). This is the most important, yet also most contradictory section of the text. It lays bare the process by which Empire and its media feed our creative and intellectual development to overabundance. At a certain point, the force of the multitude reaches such a level that it threatens the stability of Empire; however, instead of following Hardt and Negri’s utopian assumptions about the radical potential of the multitude, the authors here follow Paolo Virno’s warning that Empire is “very good at adopting apparently iconoclastic practices and utopian ideas as management techniques and revenue sources” (188). At every turn, advances in player configurative power provide new sources of revenue and advertising angles for the game industry. A disappointing shortcoming of these latter pages is the lack of truly new examples for radical resistance within game development. Instead, it turns out that the radical left seems satisfied with the same mild successes that the left-of-center also has celebrated: artist’s mods, virtual world activism, and critical counterplay within strategy- and wargames. Having been frequently cited by many authors before Dyer-Witheford and de Peuter, this idea of subversion or resistance through play feels tired and unpersuasive. It is unclear if the authors believe it is possible to embrace game design itself as a way of pursuing what they call “exodus” from Empire, or if an all-too-fashionable subversion is the only workable strategy. While the book does explore how the earliest independent game studios were eventually subverted and incorporated into the game industry proper, it doesn’t affirm or critique more recent non-commercial, DIY game development projects such as Klik-of-the-Month Club and Ludum Dare. Dyer-Witheford and de Peuter’s analysis of so-called “tactical games,” including the editorial works of La Molleindustria, leads to an even more ambivalent take on the contemporary design ecology. At the conclusion of his essay on “Countergaming,” Galloway asserts that avant-garde videogame artists “should create new grammars of action […] should create alternative algorithms” (Galloway 125). Yet Dyer-Witheford and de Peuter characterize works such as McDonald’s Video Game and Oiligarchy as didactic, suggesting that the role of radical political games might be “limited to that of agitprop” (199). They are concerned that games like those of Molleindustria rigidly structure the activities of their players in order to prove a point. Yet, despite their repeated assertion that the equation of greater interactivity with democratic digital liberation is flawed, the authors see potential in policy simulators that “allow players to edit or tweak” (202) their parameters in response to what Bogost has called simulation fever , the simultaneous drive toward and fear of simulation (Bogost 108). The possibility of practicing radical design is bucked, and early attempts at critical game development like those of Molleindustria’s seem to be relegated to the status of exceptions that prove the rule for player-centered exodus. Overall, there is one glaring question Games of Empire leaves unanswered: how exactly are videogames the “exemplary media” of Empire, and what are the implications of videogames being exemplary in this way? Presumably Dyer-Witheford and de Peuter want to avoid essentialist claims, so they’re not keen on following Wark’s desire to mark “the game’s difference from [legacy media] as something that speaks to changes in the overall structure of social and technical relations” (Wark 225). It is also unclear how the production apparatuses, labor standards, and subjectivizing processes involved in the creation and use of other any other kind of digital media would fail to justify their equally exemplary status. Even the book’s concluding paragraph holds that virtual games “are one molecular component of this undecidable collective mutation” (Dyer-Witheford and de Peuter 229) of intellect, labor, and daily life. In the end, the authors seem to back away from their focus on games as exemplary to bring their work in line with broader theories of the gradual digitization of the everyday, in line with Galloway and Manovich. Despite these flaws, there is an undeniable elegance to Games of Empire ’s contrasting of gaming’s overwhelmingly imperial content with its multitudinous form . And its ambivalence about the potential of independent or political game development might be seen by scholars of Empire as a strength rather than a weakness, an acceptance that every new expression of multitude offers another opportunity for the expansion of Empire. The book also functions as a strong, all-encompassing call to greater responsibility on the part of mainstream game developers to be more conscious of the ideologies they embed in their work, of the way their intellectual property is used and manipulated by those who employ them, and of the material impact their industry has on the world at large. For players it offers a toolbox of concepts for radical examinations of their own play activities, asking them to be more cognizant of the consequences of their consumption of digital media and the ways in which their virtual lives interface with the real. REFERENCES Bogost, Ian. Unit Operations: An Approach to Videogame Criticism . Cambridge, Mass.: MIT Press, 2006. Castranova, Edward. Synthetic Worlds: The Business and Culture of Online Games . Chicago, Illinois: University of Chicago Press, 2006. Dyer-Witheford, Nick and de Peuter, Greig. Games of Empire: Global Capitalism and Video Games . Minneapolis, Minnesota: University of Minnesota Press, 2009. Galloway, Alexander. Gaming: Essays on Algorithmic Culture . Minneapolis, Minnesota: University of Minnesota Press, 2006). Wark, McKenzie. Gamer Theory . Cambridge, Mass.: Harvard University Press, 2007. (shrink)