Results for 'video games'

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  1.  21
    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 - 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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  2. 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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  3.  19
    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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  4. 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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  5. Are Video Games Art?Aaron Smuts - 2005 - Contemporary Aesthetics 3.
    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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  6. 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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  7. 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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  8. A Humean Approach to Assessing the Moral Significance of Ultra-Violent Video Games.Monique Wonderly - 2008 - Ethics and Information Technology 10 (1):1-10.
    Although the word empathy only recently came into existence, eighteenth century philosopher, David Hume, significantly contributed to our current understanding of the term. Hume was among the first to suggest that an empathic mechanism is the central means by which we make ethical judgments and glean moral knowledge. In this paper, I explore Hume's moral sentimentalism, and I argue that his conception of empathy provides a surprisingly apposite framework for interpreting and addressing a current issue in practical ethics: the moral (...)
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  9. 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”? We (...)
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  10. 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 counterfactuals (...)
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  11.  91
    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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  12. Film Theory Meets Video Games: An Analysis of the Issues and Methodologies in 'ScreenPlay'. [REVIEW]Aaron Smuts - 2003 - Film-Philosophy 7 (7).
    "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 together (...)
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  13.  63
    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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  14.  36
    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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  15. 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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  16. 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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  17.  56
    Video Games and Virtual Reality.Robert Seddon - 2017 - In Anthony F. Beavers (ed.), Macmillan Interdisciplinary Handbooks: Philosophy: Technology. Macmillan Reference USA. pp. 191-216.
  18. 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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  19. 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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  20.  58
    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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  21.  25
    What's My Motivation? Video Games and Interpretative Performance.Grant Tavinor - 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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  22.  67
    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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  23.  18
    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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  24.  23
    EPIC: A Framework for Using Video Games in Ethics Education.Karen Schrier - 2015 - Journal of Moral Education 44 (4):393-424.
    Ethics education can potentially be supplemented through the use of video games. This article proposes a novel framework, which helps educators choose games to be used for ethics education purposes. The EPIC Framework is derived from a number of classic moral development, learning, and ethical decision-making models, including frameworks and theories associated with games and ethics, as well as prior empirical and theoretical research literature. The EPIC Framework consists of seven ethics education goals, and 12 strategies (...)
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  25.  26
    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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  26. 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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  27. 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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  28. 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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  29. 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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  30.  24
    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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  31.  11
    Video Games and Imaginative Identification.Stephanie Patridge - 2017 - Journal of Aesthetics and Art Criticism 75 (2):181-184.
  32. Beyond Good and Evil? Morality in Video Games.Geert Gooskens - 2011 - Philosophical Writings (1):37-44.
  33.  9
    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.
  34.  22
    Violent Video Games and Morality: A Meta-Ethical Approach.Garry Young - 2015 - Ethics and Information Technology 17 (4):311-321.
  35.  7
    Video Games as Tools to Achieve Insight Into Cognitive Processes.Walter R. Boot - 2015 - Frontiers in Psychology 6.
  36.  11
    Subverting Utilitarian Subject-Object Relations in Video Games: A Philosophical Analysis of Thatgamecompany’s Journey.Corné du Plessis - 2018 - South African Journal of Philosophy 37 (4):466-479.
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  37.  4
    The Relation of Violent Video Games to Adolescent Aggression: An Examination of Moderated Mediation Effect.Rong Shao & Yunqiang Wang - 2019 - Frontiers in Psychology 10.
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  38.  13
    On Difficulty in Video Games: Mechanics, Interpretation, Affect.Patrick Jagoda - 2018 - Critical Inquiry 45 (1):199-233.
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  39.  42
    Video Games as Mass Art.Grant Tavinor - 2011 - Contemporary Aesthetics 9.
  40.  3
    Choose Your Own Adventure: Examining the Fictional Content of Video Games as Interactive Fictions.Marissa D. Willis - 2019 - Journal of Aesthetics and Art Criticism 77 (1):43-53.
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  41. Should Vegetarians Play Video Games?Matthew Elton - 2000 - Philosophical Papers 29 (1):21-42.
  42.  9
    Flow and Immersion in Video Games: The Aftermath of a Conceptual Challenge.Lazaros Michailidis, Emili Balaguer-Ballester & Xun He - 2018 - Frontiers in Psychology 9.
  43.  3
    Video Games Localisation: Posing New Challenges to the Translator.Carmen Mangiron Hevia - 2007 - Perspectives 14 (4):306-323.
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  44.  14
    Ten Things Video Games Can Teach Us , by Jordan Erica Webber and Daniel Griliopoulos.Joshua D. Crabill - 2017 - Teaching Philosophy 40 (4):486-490.
  45.  4
    Media Across Borders: Localising TV, Film and Video Games.Alejandro Bolaños García-Escribano - 2018 - Perspectives 26 (2):297-299.
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  46.  14
    Spontaneous Brain Activity Did Not Show the Effect of Violent Video Games on Aggression: A Resting-State fMRI Study.Wei Pan, Xuemei Gao, Shuo Shi, Fuqu Liu & Chao Li - 2018 - Frontiers in Psychology 8.
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  47.  5
    Introduction: Conceptual Games, or the Language of Video Games.Patrick Jagoda - 2018 - Critical Inquiry 45 (1):130-136.
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  48. Seeing Perception in Video Games: Image Studies of" First Person Shooters.Stephan Gunzel - 2007 - In Karin Leonhard & Silke Horstkotte (eds.), Seeing Perception. Cambridge Scholars Press. pp. 255.
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  49.  17
    Violent Video Games: The Effects of Narrative Context and Reward Structure on in-Game and Postgame Aggression.James D. Sauer, Aaron Drummond & Natalie Nova - 2015 - Journal of Experimental Psychology: Applied 21 (3):205-214.
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  50.  43
    Philosophy Through Video Games.Tad Bratkowski - 2010 - Teaching Philosophy 33 (3):317-320.
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