- Submit
-
Browse
- All Categories
- Metaphysics and Epistemology
- Value Theory
- Science, Logic, and Mathematics
- Science, Logic, and Mathematics
- Logic and Philosophy of Logic
- Philosophy of Biology
- Philosophy of Cognitive Science
- Philosophy of Computing and Information
- Philosophy of Mathematics
- Philosophy of Physical Science
- Philosophy of Social Science
- Philosophy of Probability
- General Philosophy of Science
- Philosophy of Science, Misc
- History of Western Philosophy
- Philosophical Traditions
- Philosophy, Misc
- Other Academic Areas
- More
Switch to: References
Citations of:
Add citations
You must login to add citations.
|
|
|
What is the status of a cat in a virtual reality environment? Is it a real object? Or part of a fiction? Virtual realism, as defended by D. J. Chalmers, takes it to be a virtual object that really exists, that has properties and is involved in real events. His preferred specification of virtual realism identifies the cat with a digital object. The project of this paper is to use a comparison between virtual reality environments and scientific computer simulations to (...) |
|
|
This article presents a model and a case study of the narrative structures that are present in the interactive media design of multimedia applications in the mass media. As basic categories for the history and structure of media, we employ the model of the modes of the physical, analog, and digital presentation/representation. In this case study of the online edition of the New York Times, we have the case of a newspaper that in the digital edition employs multi-media applications. Contrasting (...) |
|
|
|
|
|
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 players: if a decision (...) |
|
|
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 appreciating (...) |
|
|
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 appreciating (...) |
|
|
Lopes (2010) offers an account of computer art, which he argues is a new art form. Part of what makes computer art distinctive, according to Lopes, is its interactivity, a quality found in few non-computer artworks. Given the rise in prominence of such artworks, most notably videogames, they are surely worthy of philosophical inquiry. I believe their ontology and properties are particularly worthy of study, as an understanding of these will prove crucial to critical understanding and evaluation of the works (...) |
|
|
I argue that even if video games are interactive artworks, typical video games are not works for performance and players of video games do not perform these games in the sense in which a musician performs a musical composition (or actors a play, dancers a ballet, and so on). Even expert playings of video games for an audience fail to qualify as performances of those works. Some exemplary playings may qualify as independent “performance-works,” but this tells us nothing about the (...) |
|
|
Whilst some philosophical progress has been made on the ethical evaluation of playing video games, the exact subject matter of this enquiry remains surprisingly opaque. ‘Virtual murder’, simulation, representation and more are found in a literature yet to settle into a tested and cohesive terminology. Querying the language of the virtual in particular, I suggest that it is at once inexplicit and laden with presuppositions potentially liable to hinder anyone aiming to construct general philosophical claims about an ethics of gameplay, (...) |
|
|
Videogames are one of the most striking developments in recent popular arts. Many of the issues traditional to philosophical aesthetics find a new setting in videogames, and often take on a dramatic new form. Little has been written specifically on videogames in the philosophy of the arts, although they are often discussed in non-philosophical disciplines, such as media studies. A number of issues seem prominent, particularly those following from the interactive nature of videogames. This article is a survey of the (...) |
PhilPapers logo by Andrea Andrews and Meghan Driscoll.
This site uses cookies and Google Analytics (see our terms & conditions for details regarding the privacy implications). Use of this site is subject to terms & conditions.
All rights reserved by The PhilPapers Foundation
Server: philpapers-web-6f9648bdd6-6d7m4 uwo