Understandings of play are frequently tied to a sense of instinctual gratification—a something that must be completed, that all humans, young or old, should or need to partake in. Indeed, for many, play is characterised as a unique activity that stands apart from the ordinary and every day. While such assessments prefigure a clear demarcation between the fun of play and the more laborious, boring aspects of profane life, what this distinction alludes to is a greater sense (...) of the creativity that underlies play. Drawing from a Lacanian perspective, the following chapter will determine that an essential aspect of play and sport is the creativity it provides, namely, by considering how the act of creativity is intricately tied to the very lack that constitutes the Lacanian subject. To do so, the concept of sublimation is used to consider how the codified rules and regulations that sport both asserts and requires renders apparent the importance of the limit. Rather than conceiving of this limit as a barrier to creativity, what is revealed in sublimation is how this limit proves constitutive of our very creativity. That is, the ability to sublimate—to creatively perform unique displays of physical or artistic expression— lies in the mundanity and utter importance of the playful and sporting activity and, more importantly, the inherent restrictions and constraints these activities impose. It is in accordance with the limit that one’s creativity can expose an emancipatory potential in the context of play and sport. (shrink)

What is the value of intellectual playfulness? Traditional characterizations of the ideal thinker often leave out playfulness; the ideal inquirer is supposed to be sober, careful, and conscientiousness. But elsewhere we find another ideal: the laughing sage, the playful thinker. These are models of intellectual playfulness. Intellectual playfulness, I suggest, is the disposition to try out alternate belief systems for fun – to try on radically different perspectives for the sheer pleasure of it. But what would the cog-nitive value be (...) of such playfulness? I suggest that intellectual playfulness function as, at the very least, a kind of intellectual insurance policy against epistemic traps. An epistemic trap is a belief system that re-directs good-faith inquiry to bad results. Am epistemic trap manipulates background beliefs to fend off contrary evidence. For example, a conspiracy theory might include a set of beliefs about how the mainstream media has been taken over by some vicious cabal. Normal epistemic attempts will be captured by a well-wrought epistemic trap, because normal attempts at inquiry are guided by these background beliefs -- which set what counts as a plausible path to explore, and what is implausible or beyond the pale. And a clever epistemic trap will manipulate those background beliefs for ill effect. Intellectual playfulness, on the other hand, isn’t motivated by an epistemic interest in the truth, but in the sheer pleasure of intellectual exploration. Since intellectual playfulness isn’t oriented towards the truth, it won’t be constrained by an agent’s background beliefs – it won’t, for example, prefer to investigate apparently more plausible pathways. Intellectual playfulness offers an opportunity to escape from epistemic traps. But intellectual playfulness has its own limitations. It will only drive us to explore belief systems when that exploration is fun. What we need is an array of differently-motivated exploratory tendencies – empathy, curiosity, playfulness – each of which will each cover for the others’ limitations. (shrink)

The central concern of this paper is to explore the efforts of Schiller's post-Kantian idealism and Marcuse's critical theory to develop a new conception of free human experience. That conception is built on the notion of play. Play is said to combine the human capacities for physical pleasure and reason, capacities which the modern world has dualized. Analysis of their respective accounts of play reveals its ambivalent form in the work of both philosophers. Play supports the (...) ideal of ‘freedom from necessity’, understood as a release from all external constraint. But it also appears to serve as a model for ‘freedom as a higher necessity’. In the case of Schiller, the ambivalence encompasses idle play and an obligation to make ourselves worthy of freedom. For Marcuse, play represents a kind of libidinal idleness while also underpinning a non-alienated conception of labour. (shrink)

According to cognitive psychologists, moral decision-making is a dual-process phenomenon involving two types of cognitive processes: explicit reasoning and implicit intuition. Moral development involves training and integrating both types of cognitive processes through a mix of instruction, practice, and reflection. Serious games are an ideal platform for this kind of moral training, as they provide safe spaces for exploring difficult moral problems and practicing the skills necessary to resolve them. In this article, we present Morality Play, a model for (...) the design of serious games for ethical expertise development based on the Integrative Ethical Education framework from moral psychology and the Lens of the Toy model for serious game design. (shrink)

Identity labels like “woman”, “Black,” “mother,” and “evangelical” are pervasive in both political and personal life, and in both formal and informal classification and communication. They are also widely thought to undermine agency by essentializing groups, flattening individual distinctiveness, and enforcing discrimination. While we take these worries to be well-founded, we argue that they result from a particular practice of using labels to rigidly label others. We identify an alternative practice of playful self-labelling, and argue that it can function as (...) a tool for combating oppression by expressing and enhancing individual and collective agency. (shrink)

In his paper “Fairness, Political Obligation, and the Justificatory Gap” (published in the Journal of Moral Philosophy), Jiafeng Zhu argues that the principle of fair play cannot require submission to the rules of a cooperative scheme, and that when such submission is required, the requirement is grounded in consent. I propose a better argument for the claim that fair play requires submission to the rules than the one Zhu considers. I also argue that Zhu’s attribution of consent to (...) people commonly thought to be bound to follow the rules by a duty of fair play is implausible. (shrink)

In his paper ‘Words on Play’, Bernard Suits famously defines play as an autotelic activity. Some philosophers like Stephen E. Schmid argue against Suits’s position by pointing out that the concept of autotelicity in Suits’s work is too unclear to serve as a defining feature for play. Due to that fact, Schmid dismisses autotelicity in favor of a definition of play in terms of the player’s engagement in an activity for intrinsic reasons. The purpose of this (...) paper is to defend Suits’s claim by clarifying the concept of autotelicity in the context of play and by arguing against some typical misconceptions about autotelicity in Schmid’s work and in the work of others. First, I define autotelic activities as activities that are engaged in for their own sake. Then, I argue that the engagement in an activity for its own sake is neither in conflict with the activity’s potential internal instrumental structure nor with the existence of certain intrinsic rea-sons (such as pleasure). (shrink)

In ethical reflections on new technologies, a specific type of argument often pops up, which criticizes scientists for “playing God” with these new technological possibilities. The first part of this article is an examination of how these arguments have been interpreted in the literature. Subsequently, this article aims to reinterpret these arguments as symbolic arguments: they are grounded not so much in a set of ontological or empirical claims, but concern symbolic classificatory schemes that ground our value judgments in the (...) first place. Invoking symbolic arguments thus refers to how certain new technologies risk undermining our fundamental symbolic distinctions by which we organize and evaluate our interactions with the world and in society. Such symbolic distinctions, moreover, tend to be resilient against logical argumentation, mainly because they themselves form the basis on which we argue in the cultural and ethical sphere in the first place. Therefore, effective strategies to evaluate and counter these arguments require another approach, showing that these technologies either do not challenge these classifications or, if they do, how they can be accompanied by the proper actions to integrate these technologies into our society. (shrink)

In this paper I investigate the relationship between the serious and the playful elements in Socrates’ character as these unfold within the context of Xenophon’s Symposium. For the Greeks, the concept of value is attached to the meaning of seriousness, and this accounts for the natural preference for the serious over the playful. Despite the potential rivalry of the playful and philosophy, Socrates mixes the playful with the serious in such a way as to conceal their boundary. This mixing serves (...) the purpose of education, by both attracting us to Socrates and placing us at a distance from the intended meaning of his words. (shrink)

This article argues that the Indian philosopher-mystic Sri Aurobindo espoused a sophisticated form of cosmopsychism that has great contemporary relevance. After first discussing Aurobindo’s prescient reflections on the “central problem of consciousness” and his arguments against materialist reductionism, I explain how he developed a panentheistic philosophy of “realistic Adwaita” on the basis of his own spiritual experiences and his intensive study of the Vedāntic scriptures. He derived from this realistic Advaita philosophy a highly original doctrine of evolutionary cosmopsychism, according to (...) which the Divine Saccidānanda is “involved” in everything in the universe and gradually manifests itself at each stage of the evolutionary process from matter to life to mind, and ultimately, to Supermind—the final stage that is yet to come, upon the attainment of which we will attain knowledge of our true divine nature as Saccidānanda. I then reconstruct Aurobindo’s novel solution to the individuation problem, according to which the Divine Saccidānanda individuates into various distinct consciousnesses by playfully limiting itself through a process of “exclusive concentration.” Finally, I highlight the continued relevance of Aurobindo’s evolutionary cosmopsychism by bringing him into conversation with Itay Shani, a contemporary proponent of cosmopsychism. (shrink)

Recent philosophy of science has seen a number of attempts to understand scientific models by looking to theories of fiction. In previous work, I have offered an account of models that draws on Kendall Walton’s ‘make-believe’ theory of art. According to this account, models function as ‘props’ in games of make-believe, like children’s dolls or toy trucks. In this paper, I assess the make-believe view through an empirical study of molecular models. I suggest that the view gains support when we (...) look at the way that these models are used and the attitude that users take towards them. Users’ interaction with molecular models suggests that they do imagine the models to be molecules, in much the same way that children imagine a doll to be a baby. Furthermore, I argue, users of molecular models imagine themselves viewing and manipulating molecules, just as children playing with a doll might imagine themselves looking at a baby or feeding it. Recognising this ‘participation’ in modelling, I suggest, points towards a new account of how models are used to learn about the world, and helps us to understand the value that scientists sometimes place on three-dimensional, physical models over other forms of representation. (shrink)

The ecological approach to object pretend play, developed from the ecological perspective, suggests an action- and affordance based perspective to account for pretend object play. Theoretical, as well as empirical reasons, support the view that children in pretense incorporate objects into their play in a resourceful and functionally appropriate way based on the perception of affordances. Therefore, in pretense children are not distorting reality but rather, they are perceiving and acting upon action possibilities. In this paper, we (...) argue for the viability of an ecological theoretical framework to pretend object play which has been traditionally understood as a representational and metarepresentational ability. We discuss the origins and basic assumptions of the ecological approach to pretense. We layout details by presenting a qualitative analysis of a pretend play episode and discuss the results of an experimental study inspired by the ecological assumptions. We discuss pretend object play in the context of ecological work on tool use. We address the relationship between the enactive and the ecological approaches to pretend play, pointing out similarities as well as differences. We conclude that ecological and enactive approaches have shown that it is possible to challenge accepted interpretations and seek explanatory frameworks that could move the field in new directions. (shrink)

This chapter presents a conception of understanding where understanding emerges out of the joint experience of conversation. On this conception, understanding requires more than the pre-reflective acquisition of shared social meanings – a conception of understanding historically highlighted by existential phenomenologists. Beyond this, it requires what occurs in genuine conversation, namely, that one put one’s pre-reflective social meanings at risk in the process of critical self-reflection. Drawing from the hermeneutic phenomenology of Hans-Georg Gadamer, I argue that conversation is that joint (...) experience that gives rise to such critical self-reflection and that it is conversation’s play-structure in particular that makes it a source of understanding in this sense. (shrink)

The category of works of fiction is a very broad and heterogeneous one. I do have a general thesis in mind about such works, namely, that they themselves are fictional, in much the same way as are the fictional events or entities that they are about. But a defense of such a broad thesis would provide an intractably complex topic for an introductory essay, so I shall here confine myself to a presentation of a similar thesis for narrative theatrical works (...) or plays, performances of which are naturally regarded as involving, or evoking, a “fictional world” whose fictional characters and events are what the work in question is about. Another reason for initially focusing on such narrative plays is because performances of them provide a rich source of epistemic issues about evidence for artistic authenticity or correctness of artworks, which will turn out to be of integral importance to my fictionalist account of plays. (shrink)

Text představuje aktivní role-playing jako výzkumnou experimentální metodu v sociálních vědách. Zasazuje role-playing do rámce simulačních výzkumných metod, rozkrývá jeho epistemo- logii a dosavadní metodologická uchopení zejména v sociální psychologii. Hlavní linií textu je obhajoba epistemologických kvalit metody a experimentu v sociálních vědách obecně. Inspiračním zdrojem je zde na jedné straně Latourova kvalitativní sociologie asociací, tázající se po původu sociality a problematizující samotný před- mět sociálních věd, tj. sociálno. A na druhé straně přístupy naturalizující sociálně- vědné výzkumy propojením s kognitivní (...) vědou. V tomto ohledu je naším klíčovým předpokladem pro smysluplné uchopení sociální reality v její simulované podobě shodnost kognitivních mechanismů skutečného i simulovaného jednání. V pojetí textu jsou oba zdroje spojeny jejich akcentem na tematizaci sociálna jako inter-psychologického fenoménu mezi tradiční mikro a makro úrovní. Analogií s Petriho miskou text promýšlí posunutí původní metody situační sociální psycho- logie směrem k využití konstruovaných diegetických liminálních situací jako svého druhu laboratoří sociálna. (shrink)

Some philosophers and theologians have argued against the idea of Human Enhancement, saying that human beings should not play God. A closer look, however, might reveal that the question of who is playing Whom is far from being so clear-cut. This chapter will address the idea of human enhancement from the standpoint of theistic theology, arguing that human enhancement and theistic theology may not be so very incompatible, after all.

The debate over whether ‘fair-play’ can serve as a justification for legal punishment has recently resumed with an exchange between Richard Dagger and Antony Duff. According to the fair-play theorist, criminals deserve punishment for breaking the law because in so doing the criminal upsets a fair distribution of benefits and burdens, and punishment rectifies this unfairness. Critics frequently level two charges against this idea. The first is that it often gives the wrong explanation of what makes crime deserving (...) of punishment, since the wrongfulness of murder is not primarily about unfairness. The second is that it implies that all crimes deserve the same degree of punishment, because all crimes create the same degree of unfairness. These objections are viewed as revealing fatal flaws in the theory. Although Dagger attempts to meet these objections by drawing on political theory, Duff responds that this still draws upon the wrong kind of resources for meeting these objections. This paper argues that these two objections rest on a crucial mistake that has been overlooked by both the defenders and critics of fair-play. This mistake results from failing to distinguish between what justifies punishment as a response to crime (which requires a common element to all crime) and what justifies attaching particular penalties to crimes (which requires making distinctions in the severity of crime). The arguments presented will give reasons to consider fair-play as a viable justification for legal punishment. (shrink)

This paper explores the human experience of game-playing and its implications for artificial intelligence. The author uses phenomenology to examine game-playing from a human-centered perspective and applies it to language games played by artificial intelligences and humans. The paper argues that AI cannot truly play games because it lacks the intentionality, embodied experience, and social interaction that are fundamental to human game-playing. Furthermore, current AI lacks the ability to converse, which is argued to be equivalent to Wittgenstein’s view of (...) engaging in “language games.” The author presents a formal ontology of game playing, agents, and their intentional states, and contrasts human agents playing games with artificial agents “playing games.” The paper concludes that while artificial intelligence can simulate some aspects of human language games, it lacks the essential capacities for game playing, such as cognition, creativity, will, intentionality, understanding, and personhood. (shrink)

A common response to claims of bias, harassment, or discrimination is to say that these claims are made in bad faith. Claimants are supposedly not motivated by a credible or even sincere belief that unfair or unequal treatment has occurred, but simply seek to illicitly gain public sympathy or private reward. Characterizing discrimination claims as systematically made in bad faith enables them to be screened and dismissed prior to engaging with them on their merits. This retort preserves the dominant group’s (...) self-image as unprejudiced and innocent without having to risk critical analysis of the claim’s substance. (shrink)

Whereas recent commentators have suggested that consumer demand, typecasting and marketing lead performers to maintain continuities across films, I argue that cinema has historically made it difficult to subtract performers from roles, leading to relatively constant comportment, and that casting, marketing and audience preference are not only causes but also effects of this. I do so using thought experiments and empirical experiments, for example, by pondering why people say they see Jesus in paintings of him and rarely mention models, but (...) stress that they see actors when encountering photographic stills of performers portraying him. Arguably, this relates to what photographs have historically come to mean, and these meanings would make it difficult for audiences to subtract and not see the actor. Based on such thinking, along with what filmmakers have said and done, and adding to classic accounts of Cavell, Santayana and others, I build the case that cinematic media invite performers to play themselves. (shrink)

This paper examines Plato’s conception of shame and the role intoxication plays in cultivating it in the Laws. Ultimately, this paper argues that there are two accounts of shame in the Laws. There is a public sense of shame that is more closely tied to the rational faculties and a private sense of shame that is more closely tied to the non-rational faculties. Understanding this division between public and private shame not only informs our understanding of Plato’s moral psychology, but (...) his political and ethical theory as well. (shrink)

It is trivially true that comedians make jokes and thus are not serious; they are “just playing.” But watching Louis CK, especially his performances in Chewed Up, Shameless, and Hilarious, it is evident that he has more in mind than simply getting his audience to frivolously guffaw. I will make the case that this is so given the content of some of his humor which centers on areas of socio-political-ethical tensions that can be uncomfortable when addressed in a direct, “bona-fide” (...) communicative mode. I will concentrate upon his playful, yet serious, account of issues surrounding race and privilege which, though not obvious center-pieces, can be found in almost all of his performances. These are complex areas that are not obvious fodder for humor, and it is clear that his comedic repertoire is broad enough that he is not including these issues for lack of funnier bits. I will argue that through his humor, he at once brings to consciousness hidden biases, challenges them in a subversive manner on behalf of those harmed by cultural stereotypes, e.g., and opens up an otherwise adversarial audience to the possibility that they harbor such unwanted stereotypes—a necessary element in consciousness-raising. My account will require a brief distinction between seriousness and playfulness, a defense of the claim that we are drawn to humor even when it is used to question our cherished presuppositions, and an interpretation of thought experiments that parallels Louis CK’s comedic mechanisms in his stand-up performances and episodes from Louie. In some cases he is explicit that he is just “making shit up” (Oh My God), or, as he cautions in the setup to a story in Shameless, “it doesn’t matter cus’ I’m gonna lie to you.” But that does not take away from my point that he is serious with his humor about social reality in the same way that philosophers have traditionally “made shit up” with thought experiments for serious purposes. Louis CK employs a similar device with his humor, and in many ways is more effective than philosophers in making the implicit explicit for his (much larger) audiences who then spread his word. (shrink)

This is a reply to commentators in the Journal of the Philosophy of Sport's special issue symposium on GAMES: AGENCY AS ART. I respond to criticisms concerning the value of achievement play and striving play, the transparency and opacity of play, the artistic status of games, and many more.

There is an emerging consensus among political philosophers that state legitimacy involves something more than—or perhaps other than—political obligation. Yet the principle of fair play, which many take to be a promising basis for political obligation, has been largely absent from discussions of the revised conception of legitimacy. This paper shows how the principle of fair play can generate legitimate political authority by drawing on a neglected feature of the principle—its stipulation that members of a cooperative scheme must (...) reciprocate specifically by submitting to the scheme's rules. (shrink)

Recent research shows – somewhat astonishingly – that people are willing to ascribe moral blame to AI-driven systems when they cause harm [1]–[4]. In this paper, we explore the moral- psychological underpinnings of these findings. Our hypothesis was that the reason why people ascribe moral blame to AI systems is that they consider them capable of entertaining inculpating mental states (what is called mens rea in the law). To explore this hypothesis, we created a scenario in which an AI system (...) runs a risk of poisoning people by using a novel type of fertilizer. Manipulating the computational (or quasi-cognitive) abilities of the AI system in a between-subjects design, we tested whether people’s willingness to ascribe knowledge of a substantial risk of harm (i.e., recklessness) and blame to the AI system. Furthermore, we investigated whether the ascription of recklessness and blame to the AI system would influence the perceived blameworthiness of the system’s user (or owner). In an experiment with 347 participants, we found (i) that people are willing to ascribe blame to AI systems in contexts of recklessness, (ii) that blame ascriptions depend strongly on the willingness to attribute recklessness and (iii) that the latter, in turn, depends on the perceived “cognitive” capacities of the system. Furthermore, our results suggest (iv) that the higher the computational sophistication of the AI system, the more blame is shifted from the human user to the AI system. (shrink)

How many championships have the Lakers won? Fourteen, if one counts those won in Minneapolis; nine, otherwise. Which is the correct answer? Is it even obvious that there is a correct answer? One is tempted to identify a team with its players. But teams, like ordinary objects, seem to survive gradual turnover of their parts. Suppose players from the Lakers are gradually replaced, one by one, over the years. We have the intuition that the team persists through this change, even (...) after none of the original players remain. Suppose too that these original players wind up playing for the Celtics. Lakers fans face an awkward question: for whom should they root? On the one hand, they have the team currently playing in L.A.—a team that has continued gradually through the years, who wear the same uniforms, but now can’t make the playoffs. On the other hand, there are the beloved Lakers starting five (responsible for all those championships) now playing together in the hated Boston garden—a team which looks (despite wearing those hated Celtics jerseys) and plays just like the Lakers of old. What’s a loyal fan to do? (shrink)

Now that she is old enough to be taken to boring, so-called “cultural” events by her aging, academic relatives, we have just taken Anya to see a performance of Julius Caesar. When it’s over, we discuss the acting, the poetry, the famous lines. At some point, Anya asks: “I wonder if it happened like that?” Anya has not radically misunderstood what we just watched; she did not, for example, rush down and yell at Caesar that he’d better read that scroll. (...) Her question is not uncommon as a response to a history play, from audience members both young and old. It is perfectly intelligible; I would like to give her an answer. Before I sketch some possible answers, it is worth saying something more about Anya’s. (shrink)

When the phrase “playing God” is used in debates concerning the use of new technologies, such as cloning or genetic engineering, it is usually interpreted as a warning not to interfere with God’s creation or nature. I think that this interpretation of “playing God” arguments as a call to non-interference with nature is too narrow. In this paper, I propose an alternative interpretation of “playing God” arguments. Taking an argumentation theory approach, I provide an argumentation scheme and accompanying critical questions (...) that capture the moral concerns expressed by “playing God” arguments. If I am right, then “playing God” arguments should be understood, not as a warning to leave God’s creation or nature alone, but rather as an invitation to think carefully about all the ways in which the use of new technologies could go seriously wrong. (shrink)

'A Differential Play of Forces' is a study of transcendental empiricism in musical contexts. It presents a reading of Gilles Deleuze and Félix Guattari’s philosophical apparatus and explores how music can be thought of as functioning in the operation Deleuze terms transcendental empiricism. Central to transcendental empiricism is the idea of an encounter with intensive difference and the consequent experience of intensive and virtual forces. The thesis sets out to explore this idea in three interwoven steps. First, it develops (...) transcendental empiricism as a philosophical framework, expounding central notions related to time and aesthetic experience. In the context of this philosophical apparatus, music is then discussed as an encounter with intensity and what this may entail for our understanding of musical experience and its potential. The third part of the thesis explores the idea of experiencing intensive forces through music in the thinking and poietic of three composers of the twentieth century: Arnold Schönberg, Olivier Messiaen and Giacinto Scelsi. The thesis develops three ‘images of thought’ corresponding, respectively, to the composers’ expressed theoretical ideas, identifying central concepts from Deleuze and Guattari’s philosophy. A mutual illumination of ideas about music and transcendental empiricism is thus presented, pointing towards a possible convergence between theory and practice, thinking and aesthetic experience as a differential play of intensive forces. (shrink)

This paper addresses the concept of play concerning human formation, especially as manifested in the philosophies of Gadamer and Schiller. Gadamer depicted understanding as an organic motion that unfolds through seeing differences and characterized play as a flexible back-and-forth movement or interplay between possibilities and transformations. Schiller structured play as the playful impulse similarly as an interactive moving force that connects the two seemingly oppositional impulses of reason and sensation and lets the two affect the other dialogically. (...) Both Gadamer and Schiller suggest that play, as in essence an inter-play, orients us into seeing more possibilities of making a refreshing sense of our intellectual and perceptual abilities and thereby transfiguring our living being into richer and fuller meaningfulness. (shrink)

This article contrasts the sense in which those whom Bernard Williams called ‘political realists’ and John Rawls are committed to the idea that political philosophy has to be distinctively political. Distinguishing the realist critique of political moralism from debates over ideal and non-ideal theory, it is argued that Rawls is more realist than many realists realise, and that realists can learn more about how to make a distinctively political vision of how our life together should be organised from his theorising, (...) although it also points to a worrying tendency among Rawlsians to reach for inappropriately moralised arguments. G. A. Cohen's advocacy of socialism and the second season of HBO's The Wire are used as examples to illustrate these points. (shrink)

I respond to a hypothetical critique of sport, drawing on primarily post-modernist sources, that would view the high performance athlete in particular as a product of the application of technical disciplines of power and that opposes sport and play as fundamentally antithetical. Through extensive discussion of possible definitions of play, and of performance, I argue that although much of the critique is valid it confuses a method of sport for the whole of it. Play is indeed a (...) noncompellable spontaneity, but one that involves the improvisational transformation of the technical skills of a sport within the context of a dynamic situation. Technique is a condition of heightened play; it does not produce it. This also means that the best play is not undisciplined. Play and sport can exist apart, but both are better combined. (shrink)

Art is universal across cultures. Yet, it is biologically expensive because of the energy expended and reduced vigilance. Why do humans make and contemplate it? This paper advances a thesis about the psychological origins of perceptual art. First, it delineates the aspects of art that need explaining: not just why it is attractive, but why fine execution and form—which have to do with how the attraction is achieved—matter over and above attractiveness. Second, it states certain constraints: we need to explain (...) pleasure in contemplation, not value extracted from the object by activities other than contemplation. The theory is that aesthetic pleasure is a motivation for learning skills. Two forms of pleasure are postulated. The first accompanies the spontaneous activity necessary for learning a more or less universal basic level of skill. The second accompanies highly skilled activity. This second kind of pleasure is specific to art as such. (shrink)

A central debate in philosophy and neuroscience pertains to whether PFC activity plays an essential role in the neural basis of consciousness. Neuroimaging and electrophysiology studies have revealed that the contents of conscious perceptual experience can be successfully decoded from PFC activity, but these findings might be confounded by post- perceptual cognitive processes, such as thinking, reasoning, and decision-making, that are not necessary for con- sciousness. To clarify the involvement of the PFC in consciousness, we present a synthesis of research (...) that has used intracranial electrical stimulation (iES) for the causal modulation of neural activity in the human PFC. This research provides compelling evidence that iES of only certain prefrontal regions (i.e., orbitofrontal cortex and anterior cingu- late cortex) reliably perturbs conscious experience. Conversely, stimulation of anterolateral prefrontal sites, often con- sidered crucial in higher-order and global workspace theories of consciousness, seldom elicits any reportable alterations in consciousness. Furthermore, the wide variety of iES-elicited effects in the PFC (e.g., emotions, thoughts, and olfactory and visual hallucinations) exhibits no clear relation to the immediate environment. Therefore, there is no evidence for the kinds of alterations in ongoing perceptual experience that would be predicted by higher-order or global workspace theories. Nevertheless, effects in the orbitofrontal and anterior cingulate cortices suggest a specific role for these PFC subregions in supporting emotional aspects of conscious experience. Overall, this evidence presents a challenge for higher-order and global workspace theories, which commonly point to the PFC as the basis for con- scious perception based on correlative and possibly confounded information. (shrink)

In the sense-certainty chapter of the Phenomenology of Spirit, we find one of Hegel’s famous puns, which utilizes homophonic affinities and differences between the verb beiherspielen and the noun Beispiel. I argue that the effect of this pun is that the word Beispiel acquires, beyond its usual meaning of ‘example’ or ‘instance’, the meaning of a play of something inessential, a play in passing. After reviewing all available translations into English, I suggest that, in order to preserve this (...) wordplay, one can translate Beispiel as ‘by-play’. Furthermore, I analyse other occurrences of the word beiherspielen in the Phenomenology and elsewhere in Hegel’s texts. Next, I focus on the crucial importance of this pun for Derrida’s interpretation and critique of Hegel’s dialectic. Only for a certain loose translation of beiherspielen does Derrida’s reasoning appear plausible. I conclude with a discussion of the ideal of terminological uniformity in translating Hegel’s texts. In preserving the wordplay by translating Beispiel as ‘by-play’, one is forced to sacrifice the uniformity of translation. (shrink)

The title of this presentation encompasses three issues: (1) an enigmatic theme (the play of signs and signs of play); (2) a model of doing something, such as unraveling a puzzle; and (3) a methodology dealing with a probable case. Considering that the order of analysis runs in the opposite direction to the order of experience, my first task is to reverse the title. Then, its three parts become: (1) an eidetic and empirical conjunction that implies a taste (...) for evidence; (2) a rigorous model of analysis that implies a relationship between ontology (what I know) and epistemology (how I know); and (3) a case that brings an enigmatic theme. My title, based in the theme of our 42nd Annual Meeting, provided an experience peculiar to a non-native English speaker: how to interpret and use the word “play”. I really felt like I was a living exemplar of one of Professor Lanigan’s favorite examples: what dictionaries and encyclopedias say or do not say. Lanigan said that “dictionaries tell you how to use the words (forms, ideas) but not what word to use” and “encyclopedias tell you what facts to use (structure, experience), but not how to use them” (1992: 208–209). That was my situation with the word “play”. Webster’s dictionary gave me around fifty different meanings for the word “play”. Which one should I choose? I am sure that I made the best choice, as I will demonstrate throughout this presentation, organized around these three ideas that in an inverse order would be theory, method, and case. (shrink)

The harmonious free play of the imagination and understanding is at the heart of Kant’s account of beauty in the Critique of the Power of Judgement, but interpreters have long struggled to determine what Kant means when he claims the faculties are in a state of free play. In this article, I develop an interpretation of the free play of the faculties in terms of the freedom of attention. By appealing to the different way that we attend (...) to objects in aesthetic experience, we can explain how the faculties are free, even when the subject already possesses a concept of the object and is bound to the determinate form of the object in perception. (shrink)

Scott Kretchmar recently put forth a new definition of what it is to play a game. Unfortunately, it must be rejected. In this paper, I show that this new definition is far too broad by discussing an activity that is not an instance of playing a game but is wrongfully ruled as one on this new definition.

Games, play and gamification are essential for all ages because they allow players to develop useful 21st century skills such as digital literacy, critical and scientific thinking, problem solving, comprehension and communication skills, storytelling skills, etc. The new generation of digital natives requires a different approach in learning new things and libraries could take advantage of that by using gamification on learning content. In this way, libraries could become more welcoming spaces, more open to the public and much more (...) interested in what the public wants. To find out what people think about the idea of playing games at the library, the idea of libraries using gamified activities or if the public would like to use gamified apps on the library websites, a questionnaire-based survey was administered on Facebook and WhatsApp between February 2 and February 8, 2024. Analysis of the answers obtained shows that the Romanian public is open to the idea of libraries where reading, communicating, socializing, acquiring knowledge in various fields such as literature, history, geography can be combined in a fun and enjoyable way with play, games and gamification. Respondents would also like to use gamification on library websites such as a book lending app. (shrink)

This special issue of Games and Culture focuses on the intersection between video games and ethics. This introduction briefly sets out the key research questions in the research field and identifies trends in the articles included in this special issue.

“Play” in biological beings and AI systems, presented as a dissertation at the University of Sussex, critically examines the concept of play in both natural and artificial entities. He differentiates between how biological organisms like humans and animals engage in play, characterized by spontaneity and exploration, versus AI systems, which are more structured and bound by rules when engaging in "games." His study explores the philosophical, psychological, neuroscientific and ethical dimensions of play, looking into how these (...) activities influence learning, behavior, and adaptation in both domains. (shrink)

Research in education indicates that the Philosophy for Children (P4C) curriculum is instrumental in achieving important educational objectives. And yet, it is precisely this instrumentalist conception of P4C that has been challenged by a second generation of P4C scholars. Among other things, these scholars argue that P4C must remain vigilant toward, and avoid subscribing to 1) developmentalism and 2) a reductive identification of thinking with rationality. On the contrary, they suggest that P4C must ensure that it gives voice to childhood, (...) allowing it to enter a genuine dialogue with adulthood. Scholars who defend a non-reductive and non-instrumentalist approach to P4C, highlight the significance of play in philosophy sessions with children. In this paper I examine the extent to which the philosophical inquiry that takes place in the context P4C can be understood as a playful activity. I submit that Fink’s account of play can help us reach a better understanding of what we mean by play, which in turn can help us examine the compatibility between the activities of P4C and play. In the first part of the paper, I examine some of the basic ideas of P4C and raise the question about the compatibility of philosophical inquiry and play. In the second part of the paper, I engage in a philosophical appreciation of play by drawing on the work of Eugen Fink. In the final part of the paper, I show how play – understood along Fink’s lines – is compatible with philosophical inquiry as practiced in school settings. (shrink)

Occlusion is most commonly presented as an aspect of certain genres: occluded genres. Here, occlusion is proposed as a property of the processes by which genres are taken up. While routine use of genres creates expectations around when the genre’s uptake is commonly occluded, such expected practice can be subverted by deliberate disclosure. Occlusion and disclosure in the process of genre uptake thus become argumentative and powerful moves in communicative interaction. In three case studies, I analyze processes of occlusion in (...) relationship to the genre of the letter to the university president. (shrink)

I discuss the aesthetic power of painful art. I focus on artworks that occasion pain by “hitting too close to home,” i.e., by presenting narratives meant to be “about us.” I consider various reasons why such works may have aesthetic value for us, but I argue that the main reason has to do with the power of such works to transgress conversational boundaries. The discussion is meant as a contribution to the debate on the paradox of tragedy.

This paper is a critique of Richard Dawkins’ “argument from improbability” against the existence of God. This argument, which forms the core of Dawkins’ book The God Delusion, provides an interesting example of the use of scientific ideas in arguments about religion. Here I raise three objections: (1) The argument is inapplicable to philosophical conceptions of God that reduce most of God’s complexity to that of the physical universe. (2) The argument depends on a way of estimating probabilities that fails (...) for the probability of an entity that creates natural laws. (3) The argument supposes that complexity arises from past physical causes; however, some forms of complexity known to mathematics and logic do not arise in this way. After stating these three criticisms, I show that some of these same considerations undermine Dawkins’ critique of agnosticism. I close the paper with some remarks on Dawkins’ conception of God. (shrink)

This paper considers the importance of play as a conventional space for hypothetical self-expression and self-trial, its importance for determination of identity, and for development of self-possibilities. Expanding such possibilities in play enables challenging of socially entrenched assumptions concerning possible and appropriate identities. Discussion is extended to the contexts of gender performance (drag) and sport-play. It is argued that play proceeds on the basis of a fundamental pretence of reality that must be taken seriously by its (...) participants; this discussion includes considerations of serious and ironical play, “playing-at”, and travesty. (shrink)

The opening of Protagoras leads to a dramatic misunderstanding concerning the companion’s suspicion that Socrates has been in pursuit of the young Alcibiades. The remark that today Socrates paid him no attention and forgot about him, together with the announcement that the supposed reason for such a strange incident was the alleged wisdom of Protagoras, mitigates and confuses Socrates’ previous acknowledgement that indeed he has come from being with Alcibiades just now. The narration following the meeting with the sophist reinforces (...) that Alcibiades, while having been present and come to the aid of Socrates, was neither the aim of Socrates’ erotic pursuit, nor left the meeting to enjoy his company in private. However, previous studies claim that this impression could be false and prompted ironically by Socrates in the dialogue in order to redirect the attention of this companion, who would judge the relationship with Alcibiades inappropriate. This paper discusses previous studies and provides new textual evidence that could confirm that the drama indicates that Socrates, in spite of his dissimulation, actually appears to be in pursuit of Alcibiades. It also explains how Socrates’ feigned forgetting, which makes it possible to avoid the matter, may be read as a necessary precaution of the philosophy in its public appearance, to protect the course of a certain educational relationship with the youngster which has just begun. (shrink)

This article emphasises the academic possibilities of autoethnography using a philosophical and theoretical framework to underpin it. The author uses a proposed research project to illustrate how and why autoethnography should be considered an academic methodology appropriate for a Doctor of Philosophy study. Crotty’s research paradigm model informs the author’s theoretical framework with a focus on Social Constructionism and Symbolic Interactionism as it’s foundations. The intention of the article is to encourage other doctoral candidates to consider the scholarly attributes of (...) autoethnography for their own research endeavours through the utilisation of an interpretivist research paradigm. (shrink)

There are well-known problems for formalist accounts of game-play with regards to cheating. Such accounts seem to be committed to cheaters being unable to win–or even play–the game, yet it seems that there are instances of cheaters winning games. In this paper, I expand the discussion of such problems by introducing cases of pre-game cheating, and see how a formalist–specifically a Suitsian–account can accommodate such problems. Specifically, I look at two (fictional) examples where the alleged game-players cheat prior (...) to a game-instance in such as a way as to cast doubt on whether the alleged game-players are truly playing the game. To escape the worries brought about by these examples of pre-game cheating, I will appeal to the concept of nested games. This concept will give us the needed tools to explain how the alleged players are cheating and how the alleged players are players. On the whole, this discussion should help illuminate some important issues with regards to cheating and rules on a Suitsian account of game-play, and help give support for formalist accounts more generally. (shrink)