The new art of videogames -- What are videogames anyway? -- On definition -- Theories of gaming -- A definition of videogames -- Videogames and fiction -- From tennis for two to worlds of warcraft -- Imaginary worlds and works of fiction -- Fictional or virtual? -- Interactive fiction -- Stepping into fictional worlds -- Welcome to rapture -- Meet niko bellic -- Experiencing game worlds -- Acting in game worlds -- Games through fiction -- The nature of gaming -- (...) What are the rules of this game? -- Playing, cheating, fragging, and griefing -- Videogames and narrative -- The stories games tell -- Would you kindly put down that wrench? -- Reconciling games and narratives -- Emotion in videogaming -- How can we be moved by the fate of Niko Bellic? -- My fear of mutants -- The role of the emotions in gaming -- The morality of videogames -- The problem with crime simulators -- Are games bad for you? -- On being offensive -- Sticking up for videogames -- Videogames as art -- Are videogames art? -- A cluster theory of art -- The art in videogames -- New art from old bottles. (shrink)

What is computer art? Do the concepts we usually employ to talk about art, such as ‘meaning’, ‘form’ or ‘expression’ apply to computer art? _A Philosophy of Computer Art_ is the first book to explore these questions. Dominic Lopes argues that computer art challenges some of the basic tenets of traditional ways of thinking about and making art and that to understand computer art we need to place particular emphasis on terms such as ‘interactivity’ and ‘user’. Drawing on a wealth (...) of examples he also explains how the roles of the computer artist and computer art user distinguishes them from makers and spectators of traditional art forms and argues that computer art allows us to understand better the role of technology as an art medium. (shrink)

In his ‘Rules and Obligations,’ Bogdan Ciomaga defends a pluralist account of moral obligations to follow sport rules by arguing that no single explanation of such obligations will plausibly apply in multiple contexts. I dispute this claim by showing that consent generates rule-following obligations in a very wide variety of the contexts in which sports are played, including each of those Ciomaga cites in support of his pluralist account. The contractualist or consent-based theory of rule normativity therefore offers a substantially (...) unifying – though not a unitary, for reasons I go on to explain – source of moral obligations to follow sport rules. (shrink)

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 (...) issues concerning videogames most likely to interest philosophers of the arts. (shrink)

In the mid twentieth century the philosopher Ludwig Wittgenstein famously asserted that games are indefinable; there are no common threads that link them all. "Nonsense," says the sensible Bernard Suits: "playing a game is a voluntary attempt to overcome unnecessary obstacles." The short book Suits wrote demonstrating precisely that is as playful as it is insightful, as stimulating as it is delightful. Suits not only argues that games can be meaningfully defined; he also suggests that playing games is a central (...) part of the ideal of human existence, so games belong at the heart of any vision of Utopia. Originally published in 1978, The Grasshopper is now re-issued with a new introduction by Thomas Hurka and with additional material (much of it previously unpublished) by the author, in which he expands on the ideas put forward in The Grasshopper and answers some questions that have been raised by critics. (shrink)

This paper offers an analytical description of the ethics of game design and its influence in the ethical challenges computer games present. The paper proposes a set of game design suggestions based on the Information Ethics concept of Levels of Abstraction which can be applied to formalise ethical challenges into gameplay mechanics; thus allowing game designers to incorporate ethics as part of the experience of their games. The goal of this paper is twofold: to address some of the reasons why (...) computer games present ethical challenges, and to exploit the informational nature of games to suggest how to develop games with ethics at the core of their gameplay. (shrink)

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 (...) the self-involving nature of video-game fictions is key to understanding various otherwise puzzling phenomena concerning the ways in which consumers respond to them. Video-game fictions are, however, far from being the only extant example of this class; and we suggest that the recent philosophical interest in video games would be better focused on the wider class of self-involving interactive fictions. (shrink)

In this paper, I consider a particular amoralist challenge against those who would morally criticize our single-player video play, viz., “come on, it’s only a game!” The amoralist challenge with which I engage gains strength from two facts: the activities to which the amoralist lays claim are only those that do not involve interactions with other rational or sentient creatures, and the amoralist concedes that there may be extrinsic, consequentialist considerations that support legitimate moral criticisms. I argue that the amoralist (...) is mistaken and that there are non-consequentialist resources for morally evaluating our single-player game play. On my view, some video games contain details that anyone who has a proper understanding of and is properly sensitive to features of a shared moral reality will see as having an incorrigible social meaning that targets groups of individuals, e.g., women and minorities. I offer arguments to support the claim that there are such incorrigible social meanings and that they constrain the imaginative world so that challenges like “it’s only a game” lose their credibility. I also argue that our responses to such meanings bear on evaluations of our character, and in light of this fact video game designers have a duty to understand and work against the meanings of such imagery. (shrink)

Games have a complex, and seemingly paradoxical structure: they are both competitive and cooperative, and the competitive element is required for the cooperative element to work out. They are mechanisms for transforming competition into cooperation. Several contemporary philosophers of sport have located the primary mechanism of conversion in the mental attitudes of the players. I argue that these views cannot capture the phenomenological complexity of game-play, nor the difficulty and moral complexity of achieving cooperation through game-play. In this paper, I (...) present a different account of the relationship between competition and cooperation. My view is a distributed view of the conversion: success depends on a large number of features. First, the players must achieve the right motivational state: playing for the sake of the struggle, rather than to win. Second, successful transformation depends on a large number of extra-mental features, including good game design, and social and institutional features. (shrink)

Sport is a producer of both emotional and aesthetic experiences. But how do these relate? Does a spectator’s emotional engagement in sport enhance or hinder it as an aesthetic experience? And does the aesthetic perception of sport enhance or hinder the emotional experiences? These questions will be addressed with particular reference to the distinction that can be drawn between partisan and purist watchers of sport, and making use of thinking in contemporary aesthetics and philosophy of emotion. There are some reasons (...) to think that emotion and aesthetics pull in opposite directions, in both sport and wider life. Does a purist miss out on the essence of sport if they adopt a detached aesthetic attitude? If that were the case, it would suggest that the sports spectator might have to choose between the two: experiencing one or the other but not both at the same time. Emotions and aesthetics would be a trade-off but I argue for some significant exceptions to this conclusion. (shrink)

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 (...) the self-involving nature of video-game fictions is key to understanding various otherwise puzzling phenomena concerning the ways in which consumers respond to them. Video-game fictions are, however, far from being the only extant example of this class; and we suggest that the recent philosophical interest in video games would be better focused on the wider class of self-involving interactive fictions. (shrink)

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 simulations of immoral (...) acts in generalis wrong. I argue that neither the utilitarian, nor the Kantian has substantial objections to violent game playing, although they offer some important insights into playing games in general and what it is morally to be a ``good sport.'' The Aristotelian, however, has a plausible and intuitive way to protest participation in authentic simulations of violent acts in terms of character: engaging in simulated immoral actserodes one's character and makes it more difficult for one to live a fulfilled eudaimonic life. (shrink)

Most people agree that murder is wrong. Yet, within computer games virtual murder scarcely raises an eyebrow. In one respect this is hardly surprising, as no one is actually murdered within a computer game. A virtual murder, some might argue, is no more unethical than taking a pawn in a game of chess. However, if no actual children are abused in acts of virtual paedophilia (life-like simulations of the actual practice), does that mean we should disregard these acts with the (...) same abandon we do virtual murder? In this paper I shall outline several arguments which attempt to permit virtual murder, whilst prohibiting virtual paedophilia. (shrink)

Zero-sum aspects of sport have generated a number of ethical concerns and a similar number of defenses or apologetics. The trick has been to find a middle position that neither overly gentrifies sport nor inappropriately emphasizes the significance of winning and losing. One such position would have us focus on the process of trying to win over the fact of having one. It would also ameliorate any harms associated with defeat by pointing out that benefits like achievement, excellence, and moral (...) development are available to winner and loser alike. Relying on the notion of ‘frame’ introduced by Polanyi, I argue that this approach underplays the poignant drama of sport (including the sting of defeat) and thus, seeks redemption at too high a cost. I argue for a version of red-blooded competition that is justified more by transcendence than mitigation, more by a willingness to play again tomorrow than civility during any single contest. I analyze sport in terms of its receptivity to such repetition and find that epistemological uncertainty, enhanced by the presence of chance in sport, renders repeat engagements both sensible and attractive. I conclude that sport verdicts, unlike outcomes in war, business, and love, do not settle things. Rather they invite both winner and loser alike to ‘play again tomorrow’. (shrink)

I argue that contemporary artists fix the features of their works not only through their actions of making and presenting objects, but also through auxiliary activities such as corresponding with curators and institutions. I refer to such fixing of features as the artist’s sanction: artists sanction features of their work through publicly accessible actions and communications, such as making a physical object with particular features, corresponding with curators and producing artist statements. I show, through an extended example, that in order (...) to grasp the nature of contemporary artworks, and thus be in a position to interpret them, we must attend to the features the artist has sanctioned. However, this does not amount to saying that the artist’s intention fixes the features of the work. While related to intentions, sanctions are not identical to them; and, indeed, the features the artist has sanctioned may conflict, in some cases, with those she intended. I distinguish my view from actual and hypothetical intentionalism and show that considering the artist’s sanction does not force us to accept any particular interpretation of the work. I also show that, while it has special relevance to our understanding of contemporary artworks, the notion of the sanction is in fact relevant to traditional Western art as well. (shrink)

Using Bernard Suits’s brilliant analysis (contra Wittgenstein) of playing a game, this paper examines the intrinsic value of game-playing. It argues that two elements in Suits’s analysis make success in games difficult, which is one ground of value, while a third involves choosing a good activity for the property that makes it good, which is a further ground. The paper concludes by arguing that game-playing is the paradigm modern (Marx, Nietzsche) as against classical (Aristotle) value: since its goal is intrinsically (...) trivial, its value is entirely one of process rather than product, journey rather than destination. (shrink)

The philosophical and scientific literature on play is extensive and the approaches to the study, description, and explanation of play are diverse. In this paper I intend to provide an overview of approaches to play. My interest is in describing the most fundamental categories in terms of which play is characterized, explained, and evaluated. Insofar as these categories attempt to describe what kind of reality we are talking about when we make claims about play, I hope to clarify the metaphysics (...) of play. Once this categorical scheme is made clear, we will be in a better position to evaluate the task of definition, claims about the relation of sport and play, and assertions about the significance of play. First, I place the discussion in the context of Bernard Suits's account of play and some other recent approaches to play. Next, I distinguish the following approaches to play: (a) play as behavior or activity; (b) play as motive, attitude, or state of mind; (c) play as form or structure; (d) play as meaningful experience; (e) play as an ontologically distinctive phenomenon. There is a natural progression in the way the analysis unfolds. In the final section I argue that my analysis generates a pluralist, nonreductive account of play. (shrink)

The existence of the obligation to follow rules in sport is widely accepted, but there are only a few studies that provide accounts that justify it. Building upon Wolff's challenge to traditional political theories, this study proposes a theory that limits the level of normativity to which participants in sport contests are bound in an effort to maximize their autonomy. Instead of constructing a unitary theory of obligations to follow sport rules, a pluralistic account is offered, one that allows for (...) multiple sources of normativity, thus augmenting the freedom of communities to play games according to their values. (shrink)

Morgan Luck raises a potentially troubling problem for gamers who enjoy video games that allow the player to commit acts of virtual murder. The problem simply is that the arguments typically advanced to defend virtual murder in video games would appear to also support video games that allowed gamers to commit acts of virtual paedophilia. Luck’s arguments are persuasive, however, there is one line of argument that he does not consider, which may provide the relevant distinction: as virtual paedophilia involves (...) the depiction of sexual acts involving children, it is therefore an instance of child pornography. I argue that virtual paedophilia involves the depiction of sexual acts involving children, which amounts to child pornography. I then draw on arguments to show that child pornography is morally objectionable. Finally, depictions of virtual murder are not instances of pornography, and so are not morally objectionable for this reason. So, there is a relevant moral distinction to draw between virtual murder and virtual paedophilia that is able to justify the former but not the latter. (shrink)

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

According to Roger Caillois, play is an occasion of pure waste. In spite of this - or because of it - play constitutes an essential element of human social and spiritual development. In this study, the author defines play as a free and voluntary activity that occurs in a pure space, isolated and protected from the rest of life.

An exploration of the way videogames mount arguments and make expressive statements about the world that analyzes their unique persuasive power in terms of ...

A critical approach that marries literary theory and information technology, reading digital and cultural artifacts—whether videogames, literature, or ...

Addressing both collegiate and professional sports, the updated edition of Fair Play explores the ethical presuppositions of competitive athletics and their ...

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

Do we watch sport for pure dumb entertainment? While some people might do so, Stephen Mumford argues that it can be watched in other ways. Sport can be both a subject of high aesthetic values and a valid source for our moral education. The philosophy of sport has tended to focus on participation, but this book instead examines the philosophical issues around watching sport. Far from being a passive experience, we can all shape the way that we see sport. Delving (...) into parallels with art and theatre, this book outlines the aesthetic qualities of sport from the incidental beauty of a well-executed football pass to the enshrined artistic interpretation in performed sports such as ice-skating and gymnastics. It is argued that the purist literally sees sport in a different way from the partisan, thus the aesthetic perception of the purist can be validated. The book moves on to examine the moral lessons that are to be learned from watching sport, depicting it as a contest of virtues. The morality of sport is demonstrated to be continuous with, rather than separate from, the morality in wider life, and so each can inform the other. Watching sport is then recognised as a focus of profound emotional experiences. Collective emotion is particularly considered alongside the nature of allegiance. Finally, Mumford considers why we care about sport at all. Addressing universal themes, this book will appeal to a broad audience across philosophical disciplines and sports studies. (shrink)

[Thomas Hurka] Using Bernard Suits's brilliant analysis of playing a game, this paper examines the intrinsic value of game-playing. It argues that two elements in Suits's analysis make success in games difficult, which is one ground of value, while a third involves choosing a good activity for the property that makes it good, which is a further ground. The paper concludes by arguing that game-playing is the paradigm modern as against classical value: since its goal is intrinsically trivial, its value (...) is entirely one of process rather than product, journey rather than destination. /// [John Tasioulas] This paper contends that play, not achievement, is the primary intrinsic good internal to game-playing, and supports a relational, as opposed to formal, conception of achievement. (shrink)