Twenty-two experienced action video-game players (AVGPs) and 18 non-VGPs were tested on a pen-and-paper line bisection task that was untimed. Typically, right-handers bisect lines 2 % to the left of true centre, a bias thought to reflect the dominance of the right-hemisphere for visuospatial attention. Expertise may affect this bias, with expert musicians showing no bias in line bisection performance. Our results show that experienced-AVGPs also bisect lines with no bias with their right hand and a significantly (...) reduced bias with their left hand compared to non-AVGPs. Bisections by experienced-AVGPs were also more precise than those of non-AVGPs. These findings show the cognitive proficiencies of experienced-AVGPs can generalize beyond computer based tasks, which resemble their training environment. (shrink)

Video-game play (particularly “action” video-games) holds exciting promise as an activity that may provide generalized enhancement to a wide range of perceptual and cognitive abilities (for review see Latham et al., 2013a). However, in this article we make the case that to assess accurately the effects of video-game play researchers must better characterize video-game experience and expertise. This requires a more precise and objective assessment of an individual's video-game (...) history and skill level, and making finer distinctions between video-games that fall under the umbrella of “action” games. Failure to consider these factors may partly be responsible for mixed findings (see Boot et al., 2011). (shrink)

In this study, we extracted facial action units (AUs) data during a Hearthstone tournament to investigate behavioural differences between expert, intermediate, and novice players. Our aim was to obtain insights into the nature of expertise and how it may be tracked using non-invasive methods such as AUs. These insights may shed light on the endogenous responses in the player and at the same time may provide information to the opponents during a competition. Our results show that player expertise may (...) be characterised by specific patterns in facial expressions. More specifically, AU17 (chin raiser), AU25 (lips apart), and AU26 (jaws drop) intensity responses during gameplay may vary according to players' expertise. Such results were obtained by training a random forest classifier to test whether we can use these three AUs alone to accurately detect players' expertise. The classifier reached 0.75 accuracy on 5-fold cross-validation, after balancing the class weights, and 0.85 after having applied the Synthetic Minority Over-sampling Technique (SMOTE) function. These results suggest that AUs can be effectively used to discriminate different levels of expertise in competitive video game players. (shrink)

The paper classifies euthanasia and discusses its typological presence in storytelling video games. It aims to illustrate the importance of experiencing simulated moral challenges in the context of gameworlds as a significantly influential, exponentially growing form of interactive media. In contrast to older works of art and media, such as film and literature, the difference should be emphasized in light of the player’s ability to make choices in video games. Although the influence of gameworld content depends on the (...) player, the experiences and knowledge gained from playing storytelling video games may influence the player’s problem-solving orientation in the landscape of difficult moral dilemmas they may encounter throughout their lives. (shrink)

Speedrunning is a kind of ‘metagame’ involving video games. Though it does not yet have the kind of profile of multiplayer e-sports, speedrunning is fast approaching e-sports in popularity. Aside from audience numbers, however, from the perspective of the philosophy of sport and games, speedrunning is particularly interesting. To the casual player or viewer, speedrunning appears to be a highly irreverent, even pointless, way of playing games, particularly due to the incorporation of “glitches”. For many outside the speedrunning community, (...) the use of glitches appears to be cheating. For speedrunners, however, glitches are entirely within the bounds of acceptability. Because of this, however, speedrunning frequently involves sidestepping what are typically taken to be the core challenges of the game. By examining the distinction between the use of glitches and cheating in speedrunning, we can gain a greater understanding of the unique ethos of this activity; that is, we can make sense of what fundamentally constitutes speedrunning as a metagame. I argue that by understanding the code of the game not as rules but as physics, and by examining what actions are deemed impermissible by the speedrunning community – such as hardware modification and hacking – we can see that the ethos of speedrunning has three components: constitutive skills (including dexterity, memorisation and mental fortitude); a collective, fine-grained knowledge of the game and the desire to subvert the intentions of the programmers. Each of these components limits and structures the earlier ones: collective knowledge takes priority over constitutive skills, and subversion takes priority over both. These three components form the ethos that structures speedrunning as a metagame, expressing what speedrunners take to be its central aim. (shrink)

Can video games or the playing of such games be morally objectionable? Many attempts to justify our intuitions about the morality of certain games or game activities are either unsuccessful or fall short. This is mainly due to a normative gap between reality and virtuality that classical approaches to moral philosophy cannot bridge. I am investigating to what extent an accurate action analysis can help us to justify our intuitions that, in some cases, something is ethically wrong (...) with video games. To do so, I am using Frankfurt’s volition theory to show how virtual game actions can be evaluated based on virtue ethics. This virtue ethical assessment is compatible with Ostritsch’s (2017) endorsement view. Especially in light of the gamification of our surroundings, the question of the ethical status of video gaming is becoming more and more urgent. By arguing that a virtue ethical approach can tell us more about the ethical aspects of video gaming, I will also argue that virtue ethics (because of similar problems in these fields) is promising regarding the ethics of simulation, art, and literature. (shrink)

Lately in the past couple of years, there are an increasing in the normal rate of playing computer games or video games compared to the E-learning content that are introduced for the safety of our children, and the impact of the video game addictiveness that ranges from (Musculoskeletal issues, Vision problems and Obesity). Furthermore, this paper introduce an intelligent tutoring system for both parent and their children for enhancement the experience of gaming and tell us about the (...) health problems and how we can solve them, with an easy user interface that way can our children be happy and excited about the information and their health. (shrink)

Forty years have passed since video-games were first made widely available to the public and subsequently playing games has become a favorite past-time for many. Players continuously engage with dynamic visual displays with success contingent on the time-pressured deployment, and flexible allocation, of attention as well as precise bimanual movements. Evidence to date suggests that both brief and extensive exposure to video-game play can result in a broad range of enhancements to various cognitive faculties that generalize (...) beyond the original context. Despite promise, video-game research is host to a number of methodological issues that require addressing before progress can be made in this area. Here an effort is made to consolidate the past 30 years of literature examining the effects of video-game play on cognitive faculties and, more recently, neural systems. Future work is required to identify the mechanism that allows the act of video-game play to generate such a broad range of generalized enhancements. (shrink)

Today’s everyone normal life can include a normal rate of playing computer games or video games; but what about an excessive or compulsive use of video games that impact on our life? Our kids, who usually spend a lot of time in playing video games will likely have a trouble in paying attention to their school lessons. In this paper, we introduce an expert system to help users in getting the correct diagnosis of the health problem of (...) video game addictions that range from (Musculoskeletal issues, Vision problems and Obesity). Moreover, this expert system provides information about the problem and tell us how we can solve it. SL5 Object expert system language was used to design and implement the expert system. (shrink)

We present data and argument to show that in Tetris - a real-time interactive video game - certain cognitive and perceptual problems are more quickly, easily, and reliably solved by performing actions in the world rather than by performing computational actions in the head alone. We have found that some translations and rotations are best understood as using the world to improve cognition. These actions are not used to implement a plan, or to implement a reaction; they are (...) used to change the world in order to simplify the problem-solving task. Thus, we distinguish pragmatic actions ñ actions performed to bring one physically closer to a goal - from epistemic actions - actions performed to uncover information that is hidden or hard to compute mentally. To illustrate the need for epistemic actions, we first develop a standard information-processing model of Tetris-cognition, and show that it cannot explain performance data from human players of the game - even when we relax the assumption of fully sequential processing. Standard models disregard many actions taken by players because they appear unmotivated or superfluous. However, we describe many such actions that are actually taken by players that are far from superfluous, and that play valuable roles in improving human performance. We argue that traditional accounts are limited because they regard action as having a single function: to change the world. By recognizing a second function of action - an epistemic function - we can explain many of the actions that a traditional model cannot. Although, our argument is supported by numerous examples specifically from Tetris, we outline how the one category of epistemic action can be incorporated into theories of action more generally. (shrink)

We present data and argument to show that in Tetris—a real-time interactive video game—certain cognitive and perceptual problems are more quickly, easily, and reliably solved by performing actions in the world rather than by performing computational actions in the head alone. We have found that some translations and rotations are best understood as being used to implement a plan, or to implement a reaction. To substantiate our position we have implemented a computational laboratory that lets us record keystrokes (...) and game situations, as well as allows us to dynamically create situations. Using the data of over 30 subjects playing 6 games, tachistoscopic tests of some of these subjects, and results from our own successful efforts at building expert systems to play Tetris, we show why knowing how to use one’s environment to enhance speed and robustness are important components in skilled play. (shrink)

Lately in the past couple of years, there are an increasing in the normal rate of playing computer games or video games compared to the E-learning content that are introduced for the safety of our children, and the impact of the video game addictiveness that ranges from (Musculoskeletal issues, Vision problems and Obesity). Furthermore, this paper introduce an intelligent tutoring system for both parent and their children for enhancement the experience of gaming and tell us about the (...) health problems and how we can solve them, with an easy user interface that way can our children be happy and excited about the information and their health. (shrink)

In the paper, laid out are the categories of the presence of the philosophical dimension of narrative content in video games, to establish a ground for more thorough thinking of practical and historical relation of philosophy and video games. In the introductory, described is the appearance of the philosophical dimension of the narrative content in the fifth generation of video games, and the importance of that happening is highlighted. The central part of the paper describes the categories (...) of the presence, differentiating among video games that use its narrative content to focus attention to issues of philosophical nature, video games that have content within which they philosophise in layman terms about philosophical problems, and videogames that apply professional philosophy to construct narrative content. Conclusively, the paper briefly discusses the issue of the category of games as complete philosophical works, understood in such a way that by removing their philosophical dimension both their narrative content and playing mechanisms would collapse and they would fully lose their meaning. (shrink)

Many actions have instrumental aims, in which we move our bodies to achieve a physical outcome in the environment. However, we also perform actions with epistemic aims, in which we move our bodies to acquire information and learn about the world. A large literature on action recognition investigates how observers represent and understand the former class of actions; but what about the latter class? Can one person tell, just by observing another person’s movements, what they are trying to learn? (...) Here, 5 experiments explore epistemic action understanding. We filmed volunteers playing a ‘physics game’ consisting of two rounds: Players shook an opaque box and attempted to determine (i) the number of objects hidden inside, or (ii) the shape of the objects inside. Then, independent subjects watched these videos and were asked to determine which videos came from which round: Who was shaking for number and who was shaking for shape? Across several variations, observers successfully determined what an actor was trying to learn, based only on their actions (i.e., how they shook the box)—even when the box’s contents were identical across rounds. These results demonstrate that humans can infer epistemic intent from physical behaviors, adding a new dimension to research on action understanding. (shrink)

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 a number of (...) significant shortcomings that make them ineffective. This essay argues that video games are defensible from the perspective of Kantian, Aristotelian, and utilitarian moral theories. (shrink)

This dissertation was written for the purpose of displacing the negative stereotype of video games being deemed as ‘lowbrow’ entertainment within critical and academic circles, when in actuality the medium has the ability to tell a captivating story through a unique lens unlike the narratives that are traditionally found in a film or a novel. Most of the criticism that games have received in the humanities come from literary scholars who have denounced the medium’s attempts to adapt seminal pieces (...) of literature such as Dante’s Divine Comedy. To counter this assumption, I will be engaging with a video game that has not been marketed as a direct adaptation of the Comedy, but rather uses Dante’s writing as a source of inspiration to enhance its own ludonarrative experience. The game I will be examining in close proximity to the Comedy is the Japanese role-playing game Shin Megami Tensei III: Nocturne released by the studio Atlus in 2003. Nocturne is an incredibly viable case study for this investigation because it exemplifies how, through the unconventional adaptation process of transmediality, a distant text like an RPG can transform the material of a medieval poem to best fit its digital stage while still referencing its source material. In this context, I intend to establish a methodological basis for the transmedial analysis of literature and video games through the creative insight of the Comedy and Nocturne, so that new meaning can be uncovered from both texts and further research can thus commence on relative instances of ludic adaptation. (shrink)

The goal of this paper is to see how mental and language representations are unique from a video-game perspective, using two main criteria. First, I will posit that the level of being both an interactive work of fiction and a self-involving interactive fiction belongs to a fuzzy interval and that some works – and, therefore, some video games – are more immersive than others. Second, I will observe how propositions tie the player’s representations of the real world (...) and the game world. Starting from psychological theories of pretense in children’s make-believe games, I will then expand Nichols and Stich’s cognitive theory of pretense to include an extra layer related to the game world, i.e., player-specific representations that govern player-specific propositions. The representations dealing with the work world are the socially shared ones, while the possible-world representations, dealing with most of the game world, are player-specific and tied to unique language use. (shrink)

Both short and long-term video-game play may result in superior performance on visual and attentional tasks. To further these findings, we compared the performance of experienced male video-game players (VGPs) and non-VGPs on a Simon-task. Experienced-VGPs began playing before the age of 10, had a minimum of 8 years of experience and a minimum play time of over 20 h per week over the past 6 months. Our results reveal a significantly reduced Simon-effect in (...) experienced-VGPs relative to non-VGPs. However, this was true only for the right-responses, which typically show a greater Simon-effect than left-responses. In addition, experienced-VGPs demonstrated significantly quicker reaction times and more balanced left-versus-right-hand performance than non-VGPs. Our results suggest that experienced-VGPs can resolve response-selection conflicts more rapidly for right-responses than non-VGPs, and this may in part be underpinned by improved bimanual motor control. (shrink)

Increasing behavioural evidence suggests that expert video game players (VGPs) show enhanced visual attention and visuospatial abilities, but what underlies these enhancements remains unclear. We administered the Poffenberger paradigm with concurrent electroencephalogram (EEG) recording to assess occipital N1 latencies and interhemispheric transfer time (IHTT) in expert VGPs. Participants comprised 15 right-handed male expert VGPs and 16 non-VGP controls matched for age, handedness, IQ and years of education. Expert VGPs began playing before age 10, had a minimum 8 years (...) experience, and maintained playtime of at least 20 hours per week over the last 6 months. Non-VGPs had little-to-no game play experience (maximum 1.5 years). Participants responded to checkerboard stimuli presented to the left and right visual fields while 128-channel EEG was recorded. Expert VGPs responded significantly more quickly than non-VGPs. Expert VGPs also had significantly earlier occipital N1s in direct visual pathways (the hemisphere contralateral to the visual field in which the stimulus was presented). IHTT was calculated by comparing the latencies of occipital N1 components between hemispheres. No significant between-group differences in electrophysiological estimates of IHTT were found. Shorter N1 latencies may enable expert VGPs to discriminate attended visual stimuli significantly earlier than non-VGPs and contribute to faster responding in visual tasks. As successful video-game play requires precise, time pressured, bimanual motor movements in response to complex visual stimuli, which in this sample began during early childhood, these differences may reflect the experience and training involved during the development of video-game expertise, but training studies are needed to test this prediction. (shrink)

Many have offered moral objections to video games, with various critics contending that they depict and promote morally dubious attitudes and behaviour. However, few have offered moral arguments in favour of video games. In this chapter, we develop one such positive moral argument. Specifically, we argue that video games offer one of the only morally acceptable methods for acquiring some ethical knowledge. Consequently, we have (defeasible) moral reasons for creating, distributing, and playing certain morally educating video (...) games. (shrink)

Autoethnographic accounts of mental illness (MI) are sparse in academic scholarship, despite generating valuable insights into how MI can be experienced and coped with in real-life contexts. First-person accounts from men are especially lacking, possibly linked to historic trend for masculine stoicism stifling male MI discussions. Some scholarships explore video-gaming as a positive, escapist aid benefiting individuals experiencing major depressive disorder (MDD). However, no research exists presenting in-depth perspectives on possible positive effects, self-identified and articulated by actors engaging with (...) gaming to cope with MDD. This research adopts a novel qualitative perspective, representing an in-depth autoethnographic examination of my experiences playing the personal computer game DeusEx, during a period of my life where I was under treatment for MDD. My positions as both a psychologist specializing in research prioritizing feminist theory as applied to understand men, masculinities, and mental health, and someone themselves recurrently treated for MDD over longer than 22 years, construct a unique dual-positionality perspective. Explicit discussions of my MDD experiences and my experiences concerning the value of video-gaming as a positive, escapist aid during MDD are presented, alongside personal deconstructions of the lasting influences of hegemonic masculinity upon men speaking up about MI. Arguments are presented for future scholars utilizing autoethnographic methods to generate realist perspectives, normalizing mental health discussions, particularly the sharing of underrepresented male experiences. Implications for future scholarship, building upon learnings generated by this research, are developed and put forward. (shrink)

Serious games are an effective method of reproducing aspects of the complex interplay between environments and stakeholders in business situations. In the game we describe here, The Sustainable Port, players experience what it is like to make decisions in such a complex environment. Their aim in the game is to grow the Port of Rotterdam while keeping economic growth in balance with sustainability goals. In this study, we assessed whether experienced Port of Rotterdam employees (PoR employees) show different (...) psychophysiological patterns, and more specifically EAR-derived features, compared to students. We did this on the assumption that physiological patterns will tell us something about how people who are familiar with the environment of the Port of Rotterdam, more specifically Port of Rotterdam employees, make decisions compared to those lacking such familiarity.Our sample consisted of 28 PoR employees and 65 students, all of whom played The Sustainable Port game and had their faces recorded with a camera. The Eye Aspect Ratio was extracted from these recordings and then from those we extracted EAR-derived features. Our results show that Port of Rotterdam employees perform better than students and that the two groups are characterized by different physiological variations in their EAR-derived features. A logistic regression model used to identify PoR employees and students obtained an F1 score of 0.62, a PR AUC score of 0.64, and a ROC AUC score of 0.70. performing significantly above baseline suggesting the effectiveness of using EAR-derived features for this task. Our interpretation was further confirmed by a pseudo-R2 score used to evaluate the goodness of fit of a logistic regression model on the entire dataset. We found that Port of Rotterdam employees had a lower variation in blink rate per minute (blinks/m) and higher variation in the root mean square difference of successive difference in blinks (RMSSD), the consecutive difference between two continuous blinks. Moreover, this study shows that our methods were robust enough to negate the effects of confounders, such as biological sex and age that affect some other studies that analyze blinks. (shrink)

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

Throughout history, education has always been essential for humanity's justice and fundamental for the creation of a free and satisfying society with the dissemination of knowledge. Hence, in addition to the life occurrences educating people, traditional higher education methods have played an important role for a long period. However, the age of technology has changed the educational system along with the people's lifestyles to meet the continuously changing conditions. During the past twenty years, the Information and Communication Technologies (ICTs) led (...) to the emergence of e-learning non-traditional educational methods bringing about an innovative dimension of virtual learning. With its beneficial features provided by the Internet and various technologies, this method passes the control of time and location from the tutors to the students during the learning process. Despite the entrance of online education into the students' life many years ago, the Covid-19 outbreak initiated in 2020 turned this method into the only possible way of education for almost two years. Afterward, plenty of studies investigated its effects on students' social and academic life, mostly considering its negative impacts on their mental health and motivation due to interaction issues. They also pointed out the specific problems of tactile learner students in the lack of face-to-face design courses. As an innovative solution able to be adopted, game technologies, increasing immersion of the learner in a real-world skill, and triggering motivation are one of the best methods integrated into educational systems. Known as serious games, these games, adopted by almost any domain, convey educational content along with entertainment, increasing interaction. They train or enhance a certain skill or topic to the player by immersing them. While serious games are more expanded nowadays, they are still not being played by the mass public due to people's immersiveness expectations of a game. Hence, the Head-Mounted Displays (HMDs), with their emergence, increased the players' engagement and immersion with all types of virtual environments in digital games. This technology, however, evolved serious games area most, among others, by enabling the opportunity to provide a riskless and low-cost learning environment for real-world skills. In the process of suggesting serious games as a replacement for the traditional educational methods, the most important factor is being aware of their effectiveness for education. Generally, digital games, one of the world's biggest and fastest-growing industries, rely heavily on the virtual landscape, a major part of its development process. Its design demands remarkable effort, and it directly affects the whole game's characteristics. Hence, serious games, as a type of digital game, carry the same attributes. With the appearance of virtual reality technology, gaming started to gain more immersiveness and engagement with artificial elements and environments. Although virtual landscapes were always being developed since the emergence of digital games, the studies taking virtual landscapes into account are mostly using them as a tool for enhancing real spaces, not as a domain for the sake of its development. While other design domains are applying various design methodologies, it is challenging to find a standard design methodology for the design and production of virtual landscapes in the gaming industry, leading to inconsistent and low-quality results. Hence, it comes to the question of what is the virtual landscapes' role in serious games and their effect on the data comprehension rate. Since the literature lacks regarding the gradual change of the virtual landscape in serious games and the content they transmit, this thesis aims to figure out the gradual chronological evolution of the virtual landscapes in serious games. It also aims to seek how this change and the virtual reality technology invention have affected the contents transmitted by digital games and its influence on the player interaction and learning rate. To do so, in the process of this thesis, we developed, tested, and evaluated various serious games, both text-based and with 360° photos. The steps taken revealed the reluctance of the players to follow the providing educational content and their inadequacy of interaction. Hence, the thesis seeks the reasons ending to this result and the ways of increasing this learning rate. Afterward, the thesis uses a currently available but not massively used digital game classification methodology. This methodology, which is based on the principles of architecture, landscape architecture, and urban planning, classifies the games based on their constituting virtual landscapes. Hence, the thesis considers all Steam games, one of the biggest video game digital distribution services, filtered with the 'education' tag, ending in 2531 digital games. Afterward, adding the 'game' tag the result reduced to 1102 games. Finally, with some manual filterings ignoring the irrelevant content, the final number decreased to 702. Sorting chronologically, we made an Excel database including the games' introductory information, the content they transmit, their release date, if they support HMD or not, and whether they are simulation games or not. Due to Steam's dating spectrum, our database includes games dating back from 1992 to 2020. Afterward, we classified all of these games using the virtual landscape classification methodology and generated their related codes based on their player scale, story, dimension, space shape, and interaction level. Investigating the results, they revealed some growth patterns relating to the content educated in the game, the VR technology, and the virtual landscape evolution. Adding the user reviews of Steam, we reverse engineered five of the best serious games on the database due to the digital game design methodology. This methodology divides the games' virtual environment into five layers, namely, player activity map (PAM), story layer, natural environment layer, virtual environment layer, and media layer. Reverse engineering the five best digital games ever, based on the IGN database, enabled us to compare the outcomes. Due to released data, we understand how the games' assets are distributed within the various layers of the virtual environment in the most successful games. Finally, the thesis aims to provide a framework based on these results for developing serious games to increase player interaction and enhance the learning rate. However, these results can be expanded to any virtual landscape other than only serious games' for their interaction enhancement. Currently, the landscape architecture domain only adopts the virtual landscape area as a tool for enhancing design in the real world. However, in the near future, landscape architects will perform in the virtual landscape area as a domain to be enhanced. Hence, that day, the results of this study will play an important role and will be a roadmap for generating highly interactive virtual landscapes. (shrink)

In this paper, we report on the development of The Sustainable Port video game, which aims to simulate the complex dynamics and decisions occurring in the present and future development of a port area considering environmental aspects (CO2 emissions) and profit. To evaluate if this game fulfills its purpose, we asked 75 students and 34 employees at the Port of Rotterdam (PoR) to play The Sustainable Port. Our results show that PoR employees score higher than students (...) suggesting a transfer between real-life experience of being an employee in the port and performance in the game. Furthermore, port participants reported that The Sustainable Port can be successfully used to start discussions about the future of the Port of Rotterdam and to raise awareness about the complexity characterizing the decision-making processes occurring in a port environment. Our results, taken together, provide evidence of the effectiveness of The Sustainable Port in simulating dynamics occurring in port development and give us optimism about future applications. (shrink)

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

The objective of this essay is to provide the beginning of a principled classification of some of the ways space is intelligently used. Studies of planning have typically focused on the temporal ordering of action, leaving as unaddressed questions of where to lay down instruments, ingredients, work-in-progress, and the like. But, in having a body, we are spatially located creatures: we must always be facing some direction, have only certain objects in view, be within reach of certain others. How (...) we manage the spatial arrangement of items around us is not an afterthought: it is an integral part of the way we think, plan, and behave. The proposed classification has three main categories: spatial arrangements that simplify choice; spatial arrangements that simplify perception; and spatial dynamics that simplify internal computation. The data for such a classification is drawn from videos of cooking, assembly and packing, everyday observations in supermarkets, workshops and playrooms, and experimental studies of subjects playing Tetris, the computer game. This study, therefore, focuses on interactive processes in the medium and short term: on how agents set up their workplace for particular tasks, and how they continuously manage that workplace. (shrink)

Many philosophers think that games like chess, languages like English, and speech acts like assertion are constituted by rules. Lots of others disagree. To argue over this productively, it would be first useful to know what it would be for these things to be rule-constituted. Searle famously claimed in Speech Acts that rules constitute things in the sense that they make possible the performance of actions related to those things (Searle 1969). On this view, rules constitute games, languages, and speech (...) acts in the sense that they make possible playing them, speaking them and performing them. This raises the question what it is to perform rule-constituted actions (e. g. play, speak, assert) and the question what makes constitutive rules distinctive such that only they make possible the performance of new actions (e. g. playing). In this paper I will criticize Searle’s answers to these questions. However, my main aim is to develop a better view, explain how it works in the case of each of games, language, and assertion and illustrate its appeal by showing how it enables rule-based views of these things to respond to various objections. (shrink)

Universal Game Theory - The theory that all of life is a game played by consciousness’es, (Living Beings). The board is a dream like structure of the universe. The progression is through an active process of intent witnessing, and passive meditation. Which releases the tension in the nerves of the body and leads to selfless actions, moral goodness, and eventually the finish, Enlightenment. Just like a wounded creature only cares about it’s own self. Man in tensionthrough self-centered thought (...) only thinks about his own predicaments. Even if he is thinking about others it is only through his own objectionable view from his false-created center. The enemy or deterrents in the game is the conditioning created by society for ambition, greed, control and general brain washing to give theindividual a false sense of identity, the ego. This is achieved by Religion; tradition, culture, education, reasoning, linear thought, and the creation of time. Leaving him/her in constant anxiety about millions of future contingencies. Through witnessing one realizes the whole futility of one dimensional thought which only leads to more and more thought. Simple or constructed elaborately, thought being time, a human construction. The final step of the Universal Game Theory is understanding the whole process of thought and the eventual revelation of Enlightenment, Bliss, ecstasy. Which the person then understands that he/she is the creator of the life/dream with which they are in. That point being a sexual ecstasy similar to what happens in death to men. i.e. Human males release semenwhen they die, having a sexual ecstasy at their last breath. (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.

Video gaming has been rising rapidly to become one of the primary entertainment media, especially during the COVID-19 pandemic. Playing video games has been reported to associate with many psychological and behavioral traits. However, little is known about the connections between game players' behaviors in the virtual environment and environmental perceptions. Thus, the current data set offers valuable resources regarding environmental worldviews and behaviors in the virtual world of 640 Animal Crossing: New Horizons (ACNH) game players (...) from 29 countries around the globe. The data set consists of six major categories: 1) socio-demographic profile, 2) COVID-19 concern, 3) environmental perception, 4) game-playing habit, 5) in-game behavior, and 6) game-playing feeling. By making this data set open, we aim to provide policymakers, game producers, and researchers with valuable resources for understanding the interactions between behaviors in the virtual world and environmental perceptions, which could help produce video games in compliance with the United Nations (UN) Sustainable Development Goals. (shrink)

It is plausible that there are epistemic reasons bearing on a distinctively epistemic standard of correctness for belief. It is also plausible that there are a range of practical reasons bearing on what to believe. These theses are often thought to be in tension with each other. Most significantly for our purposes, it is obscure how epistemic reasons and practical reasons might interact in the explanation of what one ought to believe. We draw an analogy with a similar distinction between (...) types of reasons for actions in the context of activities. The analogy motivates a two-level account of the structure of normativity that explains the interaction of correctness-based and other reasons. This account relies upon a distinction between normative reasons and authoritatively normative reasons. Only the latter play the reasons role in explaining what state one ought to be in. All and only practical reasons are authoritative reasons. Hence, in one important sense, all reasons for belief are practical reasons. But this account also preserves the autonomy and importance of epistemic reasons. Given the importance of having true beliefs about the world, our epistemic standard typically plays a key role in many cases in explaining what we ought to believe. In addition to reconciling (versions of) evidentialism and pragmatism, this two-level account has implications for a range of important debates in normative theory, including the interaction of right and wrong reasons for actions and other attitudes, the significance of reasons in understanding normativity and authoritative normativity, the distinction between ‘formal’ and ‘substantive’ normativity, and whether there is a unified source of authoritative normativity. (shrink)

Morality meters are a commonly used mechanic in many ethically notable video games. However, there have been several theoretical critiques of such meters, including that people can find them alienating, they can instrumentalise morality, and they reduce morality to a binary of good and evil with no room for complexity. While there has been much theoretical discussion of these issues, there has been far less empirical investigation. We address this gap through a qualitative study that involved participants playing a (...) custom-built visual novel game (The Great Fire) with different intuitive and counter-intuitive morality meter settings. Overall, we found that players’ attitudes towards the morality meter in this game was complex, context sensitive and variable throughout gameplay and that the intuitiveness of the meter encouraged participants to treat the meter more ‘as a moral guide’ that prompts reflection and less ‘as a score’ to be engaged with reactively. (shrink)

The Gamer’s Dilemma refers to the philosophical challenge of justifying the intuitive difference people seem to see between the moral permissibility of enacting virtual murder and the moral impermissibility of enacting virtual child molestation in video games (Luck Ethics and Information Technology, 1:31, 2009). Recently, Luck in Philosophia, 50:1287–1308, 2022 has argued that the Gamer’s Dilemma is actually an instance of a more general “paradox”, which he calls the “paradox of treating wrongdoing lightly”, and he proposes a graveness resolution (...) to this paradox. In response, we argue for four key claims. First, we accept Luck’s expansion of the Gamer’s Dilemma to be applicable to a wider set of media, but give a novel recasting of this in terms of the Paradox of Fictionally Going Too Far. Second, we develop a novel criticism of Luck in Philosophia, 50:1287–1308, 2022 graveness resolution to this broader paradox. Third, we argue that the Paradox of Fictionally Going Too Far helps to expose an implicit moralism in the Gamer’s Dilemma literature when compared to relevant nearby literatures about other forms of media. Fourth, we consider a range of non-moral, cultural and media conventions that plausibly help to dissolve the intuitive moral gap between non-sexual and sexual violence that is central to this paradox. (shrink)

The theory and culture of the arts has largely focused on the arts of objects, and neglected the arts of action – the “process arts”. In the process arts, artists create artifacts to engender activity in their audience, for the sake of the audience’s aesthetic appreciation of their own activity. This includes appreciating their own deliberations, choices, reactions, and movements. The process arts include games, urban planning, improvised social dance, cooking, and social food rituals. In the traditional object arts, (...) the central aesthetic properties occur in the artistic artifact itself. It is the painting that is beautiful; the novel that is dramatic. In the process arts, the aesthetic properties occur in the activity of the appreciator. It is the game player’s own decisions that are elegant, the rock climber’s own movement that is graceful, and the tango dancers’ rapport that is beautiful. The artifact’s role is to call forth and shape that activity, guiding it along aesthetic lines. I offer a theory of the process arts. Crucially, we must distinguish between the designed artifact and the prescribed focus of aesthetic appreciation. In the object arts, these are one and the same. The designed artifact is the painting, which is also the prescribed focus of appreciation. In the process arts, they are different. The designed artifact is the game, but the appreciator is prescribed to appreciate their own activity in playing the game. Next, I address the complex question of who the artist really is in a piece of process art — the designer or the active appreciator? Finally, I diagnose the lowly status of the process arts. (shrink)

On a widely held view in aesthetics, appreciation requires disinterested attention. George Dickie famously criticized a version of this view championed by the aesthetic attitude theorists. I revisit his criticisms and extract an overlooked challenge for accounts that seek to characterize appreciative engagement in terms of distinctive motivation: at minimum, the motivational profile such accounts propose must make a difference to how appreciative episodes unfold over time. I then develop a proposal to meet this challenge by drawing an analogy between (...) how attention is guided in appreciation and how practical action is guided in ‘striving play’—a mode of game play recently foregrounded in the philosophy of games. On the resulting account, appreciation involves an ‘inverted’ motivational structure: the appreciating agent's attention is guided by cognitive goals taken up instrumentally, for the sake of the cognitive activity that results from attending under the guidance of those goals. (shrink)

The Gamer's Dilemma is a much-discussed issue in video game ethics which probes our seemingly conflicting intuitions about the moral acceptability of virtual murder compared to virtual child molestation. But how we approach this dilemma depends on how we frame it. With this in mind, I identify three ways the dilemma has been conceptualized: the Descriptive Gamer's Investigation, which focuses on empirically explaining the source of our intuitions; the Gamer's Puzzle, which uses the dilemma to explore and test (...) moral or metaphysical theories; and the Applied Gamer's Dilemma, which reconstructs the moral commitments underlying the intuitions to provide action-guidance. Clearly distinguishing these framings allows us to identify the distinct methodologies and criteria of success for each approach. This tripartite framework helps resolve confusions in the debate, highlights the need for experimental philosophy to test proposed resolutions, and opens space for a serious reconsideration of consequentialism. The paper thus provides conceptual clarity to move the discussion forward productively. (shrink)

Games Studies reveals the performative nature of playing a character in a virtual-game-world (Nitsche 2008, p.205; Pearce 2006, p.1; Taylor 2002, p.48). Tbe Player/Character relationship is typically understood in terms of the player’s in-game “presence” (Boellstorff 2008, p.89; Schroeder 2002, p.6). This gives the appearance that living-into a game-world is an all-or- nothing affair: either the player is “present” in the game-world, or they are not. I argue that, in fact, a constitutive phenomenology reveals the Player/Character (...) relationship to be a multi-dimensional matter of empathy. I advance a broadly Schutzian framework, drawing on his 1932 discussions of “face-to-face encounters” and ”historical predecessors,” showing how at- tention to empathy reveals a variety of “presences” that different kinds of Player/Character relationships afford. The central determinants of empathetic affordances which I focus on here are (i) how much players know about a character (especially the character’s past) and (ii) how players learn this information.The purpose of this discussion will be to show that a phenomenological analysis reveals that the relationship between a player and their character is complex, highly variable, and inherently social. Furthermore, it will add to the growing body of scholarship that demonstrates that video games are rich social objects deserving of study. (shrink)

This paper takes up Bethesda Game Studios' Starfield (2023) as an aesthetic artefact, carefully attending to the thematics of the game's narrative in their operation as structuring "thought patterns" for the player's experience of the game, thought patterns that give form to the "sensible fabric" of the game and so constitute an imaginary or "distribution of the sensible" that requires critique (Rancière, 2013). Utilizing the aesthetic and material-economic theories of Nicolas Bourriaud, Jacques Rancière, Jussi Parikka, and (...) David Graeber, this paper examines the aesthetics of the techno-ecological imaginary that Starfield institutes, close reading the play of perspectives into which the game invites the player-character, and analysing this play in its problematic orientation to the key dramatic revelation of planetary catastrophe that occurs late in the game's main campaign. If, as climate and games scholar Benjamin Abraham writes (2022), "[b]ringing the climate crisis 'home' to all of our lives, all of our workplaces, all of our hobbies, is the necessary first step in acting to reverse climate action," then illuminating and critiquing Starfield's deployment of such a crisis will help players, scholars, and developers alike take the first step in learning to pay attention to the very "modes of perception" that prevent us from effecting real change in the global technological systems that have brought us to the brink of planetary collapse. (shrink)

This article introduces a strategic decision-game theoretic approach, the Pardoner’s Dilemma, and juxtaposes it with the Prisoner’s Dilemma. Game theory has emerged as a significant approach in the twentieth century for explaining strategic decision-making in numerous arenas, including economics, business, politics, ethics, international relations, biology, law, and war studies. ‘Game theory’ explains how and why players/actors/agents cooperate or conflict to procure their self-interests in a social world. Life is a game, and human, corporate, and artificial intelligent (...) agents are players who play different games to maximise utility or minimise disutility. The Prisoner’s Dilemma is a promising game-theoretic approach that explains strategic decision-making in zero-sum and non-zero-sum games. ‘Strategic decision-making’ means that the outcome does not depend upon the actions of a player but upon all players. There are numerous essential game strategies, including tossing, negotiation, bargaining, balloting, competition, chance, power, and arbitration. Although the Prisoner’s Dilemma is a good game-theoretic approach, it does not allow players to use the key game strategies. In contrast, Pardoner’s Dilemma is a game theoretic approach that not only explains zero-sum and non-zero-sum games but also allows the players to use different game strategies, such as negotiation, bargaining, tossing, chance, balloting, competition, arbitration, and power. The article develops and defends the Pardoner’s Dilemma in the game-theoretic approach as an alternative to the Prisoner’s Dilemma. The article claims that the Pardoner’s Dilemma is a more promising approach than the Prisoner’s Dilemma in the decision-game theoretic framework. By introducing the Pardoner’s Dilemma, the article enhances the scope of decision/game theory in social sciences. (shrink)

Could a person ever transcend what it is like to be in the world as a human being? Could we ever know what it is like to be other creatures? Questions about the overcoming of a human perspective are not uncommon in the history of philosophy. In the last century, those very interrogatives were notably raised by American philosopher Thomas Nagel in the context of philosophy of mind. In his 1974 essay What is it Like to Be a Bat?, Nagel (...) offered reflections on human subjectivity and its constraints. Nagel’s insights were elaborated before the social diffusion of computers and could not anticipate the cultural impact of technological artefacts capable of materializing interactive simulated worlds as well as disclosing virtual alternatives to the “self.” In this sense, this article proposes an understanding of computers as epistemological and ontological instruments. The embracing of a phenomenological standpoint entails that philosophical issues are engaged and understood from a fundamentally practical perspective. In terms of philosophical praxis, or “applied philosophy,” I explored the relationship between human phenomenologies and digital mediation through the design and the development of experimental video games. For instance, I have conceptualized the first-person action-adventure video game Haerfest (Technically Finished 2009) as a digital re-formulation of the questions posed in Nagel’s famous essay. Experiencing a bat’s perceptual equipment in Haerfest practically corroborates Nagel’s conclusions: there is no way for humans to map, reproduce, or even experience the consciousness of an actual bat. Although unverifiable in its correspondence to that of bats, Haerfest still grants access to experiences and perceptions that, albeit still inescapably within the boundaries of human kinds of phenomenologies, were inaccessible to humans prior to the advent of computers. Phenomenological alterations and virtual experiences disclosed by interactive digital media cannot take place without a shift in human kinds of ontologies, a shift which this study recognizes as the fundamental ground for the development of a new humanism (I deem it necessary to specify that I am not utilizing the term “humanism” in its common connotation, that is to say the one that emerged from the encounter between the Roman civilization and the late Hellenistic culture. According to this conventional acceptation, humanism indicates the realization of the human essence through “scholarship and training in good conduct” (Heidegger 1998, p. 244). However, Heidegger observed that this understanding of humanism does not truly cater to the original essence of human beings, but rather “is determined with regard to an already established interpretation of nature, history, world, and […] beings as a whole.” (Heidegger 1998, p. 245) The German thinker found this way of embracing humanism reductive: a by-product of Western metaphysics. As Heidegger himself specified in his 1949 essay Letter on Humanism, his opposition to the traditional acceptation of the term humanism does not advocate for the “inhuman” or a return to the “barbaric” but stems instead from the belief that the humanism can only be properly understood and restored in culture as more original way of meditating and caring for humanity and understanding its relationship with Being.). Additionally, this study explicitly proposes and exemplifies the use of interactive digital technology as a medium for testing, developing and disseminating philosophical notions, problems and hypotheses in ways which are alternative to the traditional textual one. Presented as virtual experiences, philosophical concepts can be accessed without the filter of subjective imagination. In a persistent, interactive, simulated environment, I claim that the crafting and the mediation of thought takes a novel, projective (In Martin Heidegger’s 1927 Being and Time, the term “projectivity” indicates the way a Being opens to the world in terms of its possibilities of being (Heidegger 1962, pp. 184–185, BT 145). Inspired by Heidegger’s and Vilem Flusser’s work in the field of philosophy of technology as well as Helmuth Plessner’s anthropological position presented in his 1928 book Die Stufen des Organischen und der Mensch. Einleitung in die philosophische Anthropologie, this study understands the concept of projectivity as the innate openness of human beings to construct themselves and their world by means of technical artefacts. In this sense, this study proposes a fundamental understanding of technology as the materialization of mankind’s tendency to overcome its physical, perceptual and communicative limitations.) dimension which I propose to call “augmented ontology.”. (shrink)

In 2020, an international team of intercultural philosophers and African linguists created a multilinguistic game named Adinkra. This name refers to a medieval rooted symbolic language in Ghana that is actively used by the Akan and especially the Asante among them to communicate indirectly. The Akan is both the meta-ethnic name of the largest Ghanaian cultural-linguistic group of which the Asante is an Akan cultural subgroup and of a Central Tano language of which Asante-Twi is a dialect. The Adinkra (...) symbols, which have permeated Akan life and the arts, can be found e.g. on Asante royal staffs and gold weights. They are also loosely connected to Akan proverbs. The game Adinkra aims to enhance its players’ intercultural communicative, and moral philosophical understanding by matching Adinkra symbols with Akan proverbs. It was created for educational and therapeutical purposes. This article focusses on the rules, the making of Adinkra, its aims and objectives. The objective of this article is twofold. First, it focusses on the game itself. It elaborates on what its rules are and the content of the game. It also focusses on how playing the multilinguistic game, Adinkra can enhance intercultural understanding and communication. It, furthermore, concentrates on the results of a pilot reception study of this game in the Netherlands among intercultural groups of players. This study has proven that the Adinkra game stimulates creative thinking, engagement in dialogue and reflective ethical thinking. For this reason, the authors believe that it has a lot to contribute to intercultural educational programs with a focus on intercultural communication, philosophy and arts in both Africa and the global North. Finally, a section is devoted to the question of how the Adinkra game was developed and methodologically grounded in Gadamer’s playful hermeneutics, and the theories of the Wheel of the Intercultural Art of living and (African) Indigenous Religions. Secondly, the article focusses on the game’s oral-literary storytelling context and Akan moral ideas. It then throws the searchlight on the creative, therapeutic value and its potential to serve as a ‘cultural detox’. The authors and game makers think that being introduced to an African communitarian ethos hidden in the Adinkra symbols and Akan proverbs can help its players to develop a critical eye for the highly individualistic ethos of Western culture that, among others, is promoted by neoliberal thinking and praxis. The word praxis is used by the authors in the meaning found in educational contexts. Adinkra’s players are stimulated to reflect upon a different moral idea, which can change their mindset and put them into action to contribute to social awareness and societal change. (shrink)

It is a matter of fact that Europe is facing more and more crucial challenges regarding health and social care due to the demographic change and the current economic context. The recent COVID-19 pandemic has stressed this situation even further, thus highlighting the need for taking action. Active and Assisted Living technologies come as a viable approach to help facing these challenges, thanks to the high potential they have in enabling remote care and support. Broadly speaking, AAL can be (...) referred to as the use of innovative and advanced Information and Communication Technologies to create supportive, inclusive and empowering applications and environments that enable older, impaired or frail people to live independently and stay active longer in society. AAL capitalizes on the growing pervasiveness and effectiveness of sensing and computing facilities to supply the persons in need with smart assistance, by responding to their necessities of autonomy, independence, comfort, security and safety. The application scenarios addressed by AAL are complex, due to the inherent heterogeneity of the end-user population, their living arrangements, and their physical conditions or impairment. Despite aiming at diverse goals, AAL systems should share some common characteristics. They are designed to provide support in daily life in an invisible, unobtrusive and user-friendly manner. Moreover, they are conceived to be intelligent, to be able to learn and adapt to the requirements and requests of the assisted people, and to synchronise with their specific needs. Nevertheless, to ensure the uptake of AAL in society, potential users must be willing to use AAL applications and to integrate them in their daily environments and lives. In this respect, video- and audio-based AAL applications have several advantages, in terms of unobtrusiveness and information richness. Indeed, cameras and microphones are far less obtrusive with respect to the hindrance other wearable sensors may cause to one’s activities. In addition, a single camera placed in a room can record most of the activities performed in the room, thus replacing many other non-visual sensors. Currently, video-based applications are effective in recognising and monitoring the activities, the movements, and the overall conditions of the assisted individuals as well as to assess their vital parameters. Similarly, audio sensors have the potential to become one of the most important modalities for interaction with AAL systems, as they can have a large range of sensing, do not require physical presence at a particular location and are physically intangible. Moreover, relevant information about individuals’ activities and health status can derive from processing audio signals. Nevertheless, as the other side of the coin, cameras and microphones are often perceived as the most intrusive technologies from the viewpoint of the privacy of the monitored individuals. This is due to the richness of the information these technologies convey and the intimate setting where they may be deployed. Solutions able to ensure privacy preservation by context and by design, as well as to ensure high legal and ethical standards are in high demand. After the review of the current state of play and the discussion in GoodBrother, we may claim that the first solutions in this direction are starting to appear in the literature. A multidisciplinary debate among experts and stakeholders is paving the way towards AAL ensuring ergonomics, usability, acceptance and privacy preservation. The DIANA, PAAL, and VisuAAL projects are examples of this fresh approach. This report provides the reader with a review of the most recent advances in audio- and video-based monitoring technologies for AAL. It has been drafted as a collective effort of WG3 to supply an introduction to AAL, its evolution over time and its main functional and technological underpinnings. In this respect, the report contributes to the field with the outline of a new generation of ethical-aware AAL technologies and a proposal for a novel comprehensive taxonomy of AAL systems and applications. Moreover, the report allows non-technical readers to gather an overview of the main components of an AAL system and how these function and interact with the end-users. The report illustrates the state of the art of the most successful AAL applications and functions based on audio and video data, namely lifelogging and self-monitoring, remote monitoring of vital signs, emotional state recognition, food intake monitoring, activity and behaviour recognition, activity and personal assistance, gesture recognition, fall detection and prevention, mobility assessment and frailty recognition, and cognitive and motor rehabilitation. For these application scenarios, the report illustrates the state of play in terms of scientific advances, available products and research project. The open challenges are also highlighted. The report ends with an overview of the challenges, the hindrances and the opportunities posed by the uptake in real world settings of AAL technologies. In this respect, the report illustrates the current procedural and technological approaches to cope with acceptability, usability and trust in the AAL technology, by surveying strategies and approaches to co-design, to privacy preservation in video and audio data, to transparency and explainability in data processing, and to data transmission and communication. User acceptance and ethical considerations are also debated. Finally, the potentials coming from the silver economy are overviewed. (shrink)

According to Eugen Fink, a thorough elucidation of the meaning of play has the capacity to lead us towards an understanding of the world as a totality. In order to go beyond Plato’s understanding of play as an inferior copy of serious action, Fink provides an analysis of the cultic game. This form of playing cannot be said to be the origin of all play, but it enables us to demonstrate how the act of playing (...) transcends circumscribed beings inside the world and provides a relationship with a higher whole, in which the community participating in the play is encompassed. A masked shaman does not represent a particular god, but brings to presence the action of gods upon humans as such. Thus, the cultic game is a symbol of a more important reality, not an inferior representation of an individual reality. This, however, is still not a sufficiently radical interpretation of the ontological dimension of play: the whole is only understood as an action of gods, i.e. mediately. Fink strives to demonstrate on the cont... (shrink)

The objective of this paper is to supplement Gottlieb’s challenge to Dryfus who claims that concepts are not operative in expert’s unreflective actions. First, concepts that an agent develops over time with practice, starting from the stage of novelty, become deeply rooted and persist through his expertise stage, according to common sense. It is unlikely that such rooted concepts become inoperative just when it is time for the agent to put them to use during the time that he is in (...) the zone (i.e., in flow). Second, an expert's inability to remember reasons behind his actions while he is in the zone is insufficient to prove that concepts are inoperative when he is acting in the zone. For an agent to not remember reasons as such could more likely be a consequence of the adequacy of his minimized reflections on his maximized (i.e. expert level) concepts, while he is in such a state. Moreover, not recalling every reason behind every step of an agent’s actions in the zone could be a consequence of his maximum concentration on successful processing and coordination of the task at hand, as opposed to committing his finite mental capacities to memorizing the reasons behind his step-by-step actions when he is performing an expert level action in the zone. Third, I point out to the prevalence of examples when experts or observers provide testimony about use of concepts to strategize or review actions before, during, and after their ‘in the zone’ actions (e.g., review of video replays of a game or a tournament on sports channels), which supports the operations and conceptuality of unreflective actions in flow. (shrink)

The Nash counterfactual considers the question: what would happen were I to change my behaviour assuming no one else does. By contrast, the Kantian counterfactual considers the question: what would happen were everyone to deviate from some behaviour. We present a model that endogenizes the decision to engage in this type of Kantian reasoning. Autonomous agents using this moral framework receive psychic payoffs equivalent to the cooperate-cooperate payoff in Prisoner’s Dilemma regardless of the other player’s action. Moreover, if both (...) interacting agents play Prisoner’s Dilemma using this moral framework, their material outcomes are a Pareto improvement over the Nash equilibrium. (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)

Interactions between an intelligent software agent and a human user are ubiquitous in everyday situations such as access to information, entertainment, and purchases. In such interactions, the ISA mediates the user’s access to the content, or controls some other aspect of the user experience, and is not designed to be neutral about outcomes of user choices. Like human users, ISAs are driven by goals, make autonomous decisions, and can learn from experience. Using ideas from bounded rationality, we frame these interactions (...) as instances of an ISA whose reward depends on actions performed by the user. Such agents benefit by steering the user’s behaviour towards outcomes that maximise the ISA’s utility, which may or may not be aligned with that of the user. Video games, news recommendation aggregation engines, and fitness trackers can all be instances of this general case. Our analysis facilitates distinguishing various subcases of interaction, as well as second-order effects that might include the possibility for adaptive interfaces to induce behavioural addiction, and/or change in user belief. We present these types of interaction within a conceptual framework, and review current examples of persuasive technologies and the issues that arise from their use. We argue that the nature of the feedback commonly used by learning agents to update their models and subsequent decisions could steer the behaviour of human users away from what benefits them, and in a direction that can undermine autonomy and cause further disparity between actions and goals as exemplified by addictive and compulsive behaviour. We discuss some of the ethical, social and legal implications of this technology and argue that it can sometimes exploit and reinforce weaknesses in human beings. (shrink)

To what extent do aesthetic taste and our interest in the arts constitute who we are? In this paper, we present a series of empirical findings that suggest anAesthetic Self Effectsupporting the claim that our aesthetic engagements are a central component of our identity. Counterfactual changes in aesthetic preferences, for example, moving from liking classical music to liking pop, are perceived as altering us as a person. The Aesthetic Self Effect is as strong as the impact of moral changes, such (...) as altering political partisanship or religious orientation, and significantly stronger than for other categories of taste, such as food preferences (Study 1). Using a multidimensional scaling technique to map perceived aesthetic similarities among musical genres, we determined that aesthetic distances between genres correlate highly with the perceived difference in identity (Study 2). Further studies generalize the Aesthetic Self Effect beyond the musical domain: general changes in visual art preferences, for example from more traditional to abstract art, also elicited a strong Self Effect (Study 3). Exploring the breadth of this effect we also found anAnaesthetic Self Effect.That is, hypothetical changes from aesthetic indifference to caring about music, art, or beauty are judged to have a significant impact on identity. This effect on identity is stronger for aesthetic fields compared to leisure activities, such as hiking or playing video games (Study 4). Across our studies, the Anaesthetic Self Effect turns out to be stronger than the Aesthetic Self Effect. Taken together, we found evidence for a link between aesthetics and identity: we are aesthetic selves. When our tastes in music and the arts or our aesthetic interests change we take these to be transformative changes. (shrink)

A common understanding of the role of a game developer includes establishing (or at least partially establishing) what is interactively and perceptually available in (video)game environments: what elements and behaviors those worlds include and allow, and what is – instead – left out of their ‘possibility horizon’. The term ‘possibility horizon’ references the Ancient Greek origin of the term ‘horizon’, ὄρος (oros), which denotes a frontier – a spatial limit. On this etymological foundation, ‘horizon’ is used here (...) to indicate the spatial and operational boundaries that a (video)game environment affords its players. This book chapter discusses a particular feeling that emerge in relation to playful encounters with the ‘possibility horizons’ of videogames. I am referring here to the realization, as a player, that a game environment can be experientially exhausted and is, as such, ultimately banal. In other words, I will examine how our deliberate engagement with the interactive environments of digital games can trigger sensations that are analogous to what Romantic authors referred to as Weltschmerz (‘world-weariness’). (shrink)