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)

Games occupy a unique and valuable place in our lives. Game designers do not simply create worlds; they design temporary selves. Game designers set what our motivations are in the game and what our abilities will be. Thus: games are the art form of agency. By working in the artistic medium of agency, games can offer a distinctive aesthetic value. They support aesthetic experiences of deciding and doing. -/- And the fact that we play games shows something (...) remarkable about us. Our agency is more fluid than we might have thought. In playing a game, we take on temporary ends; we submerge ourselves temporarily in an alternate agency. Games turn out to be a vessel for communicating different modes of agency, for writing them down and storing them. Games create an archive of agencies. And playing games is how we familiarize ourselves with different modes of agency, which helps us develop our capacity to fluidly change our own style of agency. (shrink)

This is a reply to Elisabeth Camp's and Elijah Millgram's probing discussions of "Games and the Art of Agency", in a symposium in Journal of Ethics and Social Philosophy. Millgram argues that games cannot function as a guide to life, because they are too different from life. Games are limited in a special way: in life, we deliberate about what goals we want to take on, but in games, the goals are fixed and given to us. Camp argues that there (...) is nothing particularly special about games, because the fluidity of agency is all over ordinary life too - games are just like ordinary life. I respond to Millgram: we do deliberate about our ends, in games, when we aesthetically reflect on which games to play. And I respond to Camp: games are distinctive in the way they regulate how our reasons flow across the game/life border. To respond to these criticisms, I add some substantial new features to my account of the motivational structure of game-play. (shrink)

This is my reply to commentators in the symposium on my book, GAMES: AGENCY AS ART. The symposium features commentary by Thomas Hurka, Quill Kukla, and Alva Noe, and originally appeared in Analysis 81 (2).

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)

What can the philosophy of agency learn from Nguyen’s book on games? The most important lesson concerns, to use Nguyen’s terms, the ‘layered’ structure of our agency and the ‘fluidity’ requ...

Game theorists tend to model climate negotiations as a so-called ‘tragedy of the commons’. This is rather worrisome, since the conditions under which such commons problems have historically been solved are almost entirely absent in the case of international greenhouse gas emissions. In this paper, I will argue that the predictive accuracy of the tragedy model might not stem from the model’s inherent match with reality but rather from the model’s ability to make self-fulfilling predictions. I then sketch some (...) possible ways to dispel the tragedy, including (1) recognizing some ways the assumptions of the model fail, (2) taking seriously recent work suggesting that increasing greenhouse gas emissions is not in most nations’ own self-interest, and (3) preferring alternative models like collective risk dilemmas, bargaining games, or cooperative models. (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)

We propose a formal framework for interpretable machine learning. Combining elements from statistical learning, causal interventionism, and decision theory, we design an idealised explanation game in which players collaborate to find the best explanation for a given algorithmic prediction. Through an iterative procedure of questions and answers, the players establish a three-dimensional Pareto frontier that describes the optimal trade-offs between explanatory accuracy, simplicity, and relevance. Multiple rounds are played at different levels of abstraction, allowing the players to explore overlapping (...) causal patterns of variable granularity and scope. We characterise the conditions under which such a game is almost surely guaranteed to converge on a optimal explanation surface in polynomial time, and highlight obstacles that will tend to prevent the players from advancing beyond certain explanatory thresholds. The game serves a descriptive and a normative function, establishing a conceptual space in which to analyse and compare existing proposals, as well as design new and improved solutions. (shrink)

A dialogue arguing that morality has an objective basis in the mathematical object describing the "tit for tat" game theory. To play the game, a contractual obligation is freely made to cooperate and to fairly distribute the gains. Failure to meet these obligations results in social punishment.

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)

Philosophical games are games designed to invite players to think philosophically within (and about) their gameworlds. They are interactive fictions allowing players to engage with philosophical themes in ways that often set them apart from non-interactive kinds of speculative fictions (such as philosophical novels or thought experiments). To better understand philosophical games, this entry proposes to distinguish two primary ways in which a philosophical game can approach its themes: dialectically or rhetorically.

In this paper we propose and analyze a game-theoretic model of the epistemology of peer disagreement. In this model, the peers' rationality is evaluated in terms of their probability of ending the disagreement with a true belief. We find that different strategies---in particular, one based on the Steadfast View and one based on the Conciliatory View---are rational depending on the truth-sensitivity of the individuals involved in the disagreement. Interestingly, the Steadfast and the Conciliatory Views can even be rational simultaneously (...) in some circumstances. We tentatively provide some reasons to favor the Conciliatory View in such cases. We argue that the game-theoretic perspective is a fruitful one in this debate, and this fruitfulness has not been exhausted by the present paper. (shrink)

Is capitalism inherently predatory? Must there be winners and losers? Is public interest outdated and free-riding rational? Is consumer choice the same as self-determination? Must bargainers abandon the no-harm principle? Prisoners of Reason recalls that classical liberal capitalism exalted the no-harm principle. Although imperfect and exclusionary, modern liberalism recognized individual human dignity alongside individuals' responsibility to respect others. Neoliberalism, by contrast, views life as ceaseless struggle. Agents vie for scarce resources in antagonistic competition in which every individual seeks dominance. This (...) political theory is codified in non-cooperative game theory; the neoliberal citizen and consumer is the strategic rational actor. Rational choice justifies ends irrespective of means. Money becomes the medium of all value. Solidarity and good will are invalidated. Relationships are conducted on a quid pro quo basis. However, agents can freely opt out of this cynical race to the bottom by embracing a more expansive range of coherent action. (shrink)

Persons with aphasia suffer from a loss of communication ability as a consequence of a brain injury. A small strand of research indicates effec- tiveness of dialogic interventions for communication development for persons with aphasia, but a vast amount of research studies shows its effectiveness for other target groups. In this paper, we describe the main parts of the hitherto technological development of an application named Dialogica that is (i) aimed at facilitating increased communicative participation in dialogic settings for persons (...) with aphasia and other communication disorders, (ii) based on comput- er game technology as well as on theory in dialogic education and argumenta- tion theory, and (iii) designed for mobile devices with larger screens. (shrink)

The paper has a twofold aim. On the one hand, it provides what appears to be the first game-theoretic modeling of Napoleon’s last campaign, which ended dramatically on 18 June 1815 at Waterloo. It is specifically concerned with the decision Napoleon made on 17 June 1815 to detach part of his army against the Prussians he had defeated, though not destroyed, on 16 June at Ligny. Military historians agree that this decision was crucial but disagree about whether it was (...) rational. Hypothesizing a zero-sum game between Napoleon and Blücher, and computing its solution, we show that it could have been a cautious strategy on the former's part to divide his army, a conclusion which runs counter to the charges of misjudgement commonly heard since Clausewitz. On the other hand, the paper addresses methodological issues. We defend its case study against the objections of irrelevance that have been raised elsewhere against “analytic narratives”, and conclude that military campaigns provide an opportunity for successful application of the formal theories of rational choice. Generalizing the argument, we finally investigate the conflict between narrative accounts – the historians' standard mode of expression – and mathematical modeling. (shrink)

Watching other people play videogames —a.k.a. ‘spectator gaming’— is a widespread practice. Yet, it is considered by some as an inadequate form of engagement with games. In this paper, I show that the strongest objection to spectator gaming relies on the claim that some properties of videogames are better, if not exclusively, accessible to the player. After that, I propose two replies to this challenge. The first is that ‘secondary players’, i.e., individuals who indirectly take part in the game, (...) can access the relevant properties. The second reply is that even paradigmatic spectators may engage in simulated play, and therefore, access these properties as well. (shrink)

How do we prepare engineering students to make ethical and responsible decisions in their professional work? This paper presents an approach that enhances engineering students’ engagement with ethical reasoning by simulating decision-making in a complex scenario. The approach has two principal inspirations. The first is Anthony Weston’s scenario-based teaching. Weston’s concept of a scenario is a situation that changes in response to choices made by participants, according to an inner logic. Scenarios can dynamically explore open-ended complex problems without imposing predetermined (...) results, allowing students to apply their ethical reasoning in a more realistic fashion. The second inspiration is Thi Nguyen’s theory of games. According to Nguyen, games are the “art of agency,” meaning that they provide a structure under which some result is agreed to be valuable, along with prescribed ways of achieving that result, in a relatively low-stakes and temporary social arrangement. By playing many games, Nguyen argues, we can develop a “library of agency,” that is to say, a set of values and means to achieving them that can inform how we make high-stakes decisions in real life. Engaging with carefully designed game scenarios, then, can enable students to practice making ethical decisions within a structured framework, which unfolds in response to their choices, while their decisions are driven by some defined goal. This roleplaying game–based approach thus allows students to build their own ethical libraries of agency, in preparation for professional decision-making. The approach is illustrated using a specific example recently deployed in a seminar on engineered living materials (building materials that incorporate living tissues). The scenario uses techniques from tabletop roleplaying games (e.g. Dungeons & Dragons) for outcome resolution, adventure design, and character creation. Through the game, students practice making difficult decisions in a humanitarian context. (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)

This paper argues, based on Lewis’ claim that communication is a coordination game (Lewis in Minnesota studies in the philosophy of science, University of Minnesota Press, Minneapolis, pp 3–35, 1975), that we can account for the communicative function of demonstratives without assuming that they semantically refer. The appeal of such a game theoretical version of the case for non-referentialism is that the communicative role of demonstratives can be accounted for without entering the cul de sac of trying to (...) construct conventions of ever-increasing complexity. Instead communication via demonstratives is explained with reference to the general, non-domain specific ability of human beings to solve games of coordination. Furthermore, there is empirical support for such a view. Judgments concerning demonstrative reference have been shown to be sensitive to judgments concerning common ground (Clark et al. in J Verb Learn Verb Behav 22:245–258, 1983), which is exactly what the non-referentialist account would predict. The game theoretical account also allows for an intuitively plausible, non-referentialist treatment of Speaks’ ‘trumping argument’ (Speaks in Philos Stud 174:709–734, 2017), as well as the Carnap/Agnew puzzle (Kaplan in Syntax Semant 9:221–43, 1970). (shrink)

This paper challenges Thi Nguyen's argument, in Games: Agency as Art, a central part of the value of game-play comes from the aesthetic experiences it allows, especially of our own agency, so playing a game is importantly like engaging with art. It challenges three arguments Nguyen makes in support of this view and argues, to the contrary, that the principal value in game-play rests in the achievments it allows.

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)

Causal reasoning and game-theoretic reasoning are fundamental topics in artificial intelligence, among many other disciplines: this paper is concerned with their intersection. Despite their importance, a formal framework that supports both these forms of reasoning has, until now, been lacking. We offer a solution in the form of (structural) causal games, which can be seen as extending Pearl's causal hierarchy to the game-theoretic domain, or as extending Koller and Milch's multi-agent influence diagrams to the causal domain. We then (...) consider three key questions: i) How can the (causal) dependencies in games - either between variables, or between strategies - be modelled in a uniform, principled manner? ii) How may causal queries be computed in causal games, and what assumptions does this require? iii) How do causal games compare to existing formalisms? To address question i), we introduce mechanised games, which encode dependencies between agents' decision rules and the distributions governing the game. In response to question ii), we present definitions of predictions, interventions, and counterfactuals, and discuss the assumptions required for each. Regarding question iii), we describe correspondences between causal games and other formalisms, and explain how causal games can be used to answer queries that other causal or game-theoretic models do not support. Finally, we highlight possible applications of causal games, aided by an extensive open-source Python library. (shrink)

Increase in popularity of games like "Second Life" has contributed not only to significant changes in the development of the electronic entertainment industry. Promoting Games 2.0, the new trend of video game production that are assumed to be the virtual worlds that contain user-generated content makes both measured with a specific technological innovation, as well as a serious change in the organization of socio-cultural heritage. The article presents problems of the existing difficulties of terminology, the implications of the availability (...) of Games 2.0 for social life, the concept of leisure as work in the new economy and creative non-material and the characteristics of "Generation C". Work stresses the need for discussion on trends in the development of video games - defined as a choice between the projects’ of "socio-cultural ideology of perpetual motion" and "utopia of universal creativity". These approaches allow to identify the methodological basis for analysis of relations between the operators and users of Games 2.0, taking into account the wider social environment. ** Wzrost popularności gier typu „Second Life” przyczynił siȩ nie tylko do znacznych przemian w rozwoju branży rozrywki elektronicznej. Upowszechnianie Games 2.0, nowego nurtu produkcji gier wideo które z założenia maj¸a} stanowić wirtualne światy zawieraj¸a}ce treści tworzone przez użytkowników sprawia, że mierzymy siȩ zarówno z określon¸a} innowacj¸a} technologiczn¸a}, jak też z poważn¸a} zmian¸a} organizacji życia społeczno-kulturowego. Artykuł przedstawia problematykȩ istniej¸acych trudności terminologicznych, konsekwencje dostȩpności Games 2.0 dla życia społecznego, pojȩcie rozrywki jako pracy w nowej gospodarce niematerialnej i twórczej oraz charakterystykȩ „generacji C”. Praca podkreśla potrzebȩ dyskusji nad kierunkami rozwoju gier wideo - określanymi jako wybór miȩdzy projektami „ideologii społeczno-kulturowego perpetuum mobile” i „utopii powszechnej twórczości”. Podejścia te pozwalaj¸a na wskazanie podstaw metodologicznych do prowadzenia analiz relacji miȩdzy operatorami, a użytkownikami Games 2.0 przy uwzglȩdnieniu szerszego otoczenia społecznego. (shrink)

The emergence of the need for orientation since the past times led the universities to invent innovative ways to prepare their students for the activities and courses they will face. Hence, various types of orientation have been provided during history. However, today with the outbreak of the Covid-19 and the closure of the schools, most of the students are continuing their studies as distance learning. While this situation is very disappointing for all freshmen students who do not know the university's (...) atmosphere, it is extremely disruptive, specifically for the design ones, which are passing tactile courses, demanding being held face to face. This ascertains the research's problem as a need for an interactive solution for the issue to lessen the consequent problems. Game-based orientation (GBO) is a tool, engaging the freshmen students as players with the provided data in it, which are the essentials for a novel student to know before entering the university. It allows the student to be dealt with the school services, Istanbul Technical University in this case, and use them in terms of the game's tasks. The scoring system, the ultimate certificate, the leaderboard leading them to prizes, and the game's non-linearity will attract the students to use GBO frequently to finish it and experience all the possible scenarios. (shrink)

When game theory was introduced to biology, the components of classic game theory models were replaced with elements more befitting evolutionary phenomena. The actions of intelligent agents are replaced by phenotypic traits; utility is replaced by fitness; rational deliberation is replaced by natural selection. In this paper, I argue that this classic conception of comprehensive reapplication is misleading, for it overemphasizes the discontinuity between human behavior and evolved traits. Explicitly considering the representational roles of evolutionary game theory (...) brings to attention neglected areas of overlap, as well as a range of evolutionary possibilities that are often overlooked. The clarifications this analysis provides are well-illustrated by—and particularly valuable for—game theoretic treatments of the evolution of social behavior. (shrink)

A generalization of the standard n-person game is presented, with flexible information requirements suitable for players constrained by bounded rationality. Strategies (complete contingency plans) are replaced by "policies," i. e., end-mean pairs of candidate goals and "controls" (partial contingency plans). The existence of individual objective functions over the joint policy choice set is axiomatized in terms of primitive preference and probability orders. Conditions are given for the existence of pure policy Nash equilibrium points in n-person games, and pure policy (...) Nash bargaining and equilibrium threat solutions in 2-person policy games. Connectedness of the policy and payoff sets is not required. (shrink)

Counterpossibles, counterfactuals conditional with impossible antecedents, are notoriously contested; while the standard view makes them trivially true, some authors argue that they can be non-trivially true. In this paper, I examine the use of counterfactuals in the context of games, and argue that there is a case to be made for their non-triviality in a restricted sense. In particular, I examine the case of retro problems in chess, where it can happen that one is tasked with evaluating counterfactuals about illegal (...) positions. If we understand illegality as a type of restricted impossibility, those counterfactuals are non-trivial counterpossibles. I suggest that their non-triviality stems from their role in practices of rule coordination and revision, and suggest that this model could be generalized to counterpossibles in different domains. I then compare the approach to the accounts of Vetter 2016 and Locke 2019. (shrink)

On Bernard Suits’s celebrated analysis, to play a game is to engage in a ‘voluntary attempt to overcome unnecessary obstacles’. Voluntariness is understood in terms of the players having the ‘lusory attitude’ of accepting the constitutive rules of the game just because they make possible playing it. In this paper I suggest that the players in Netflix’s hit show Squid Game play the ‘squid games’, but they do not do so voluntarily; they are forced to play. I (...) argue that this means that we should rethink Suits’s analysis by claiming that all that is needed for players to play is that someone has put the rules in force for them for the reason that it makes playing the game possible. I then illustrate the virtues of the revised analysis by showing how it helps us to defuse Hurka’s recent counterexamples to Suits’s view. (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.

This study evaluated the effectiveness of four game-based activities (GBAs) in teaching ecosystems to Grade 7 Biology students. Involving 69 students (34 control, 35 experimental), the quasi-experimental study used a mixed-methods approach. The researcher utilized a static-group comparison design for the quantitative phase and a thematic analysis for the qualitative phase. Quantitative analysis revealed significant improvements in the experimental group's social skills (p<0.05; Cohen’s d = 0.63) and conceptual understanding (p<0.05; Cohen’s d = 0.86). Descriptive statistical analysis also suggests (...) that GBAs can foster positive attitudes toward using GBAs and learning. Qualitative data from journal entries and teacher-observer interviews highlighted enhanced communication, collaboration, confidence, and participation among students using GBAs. The study also recognized the interconnection between conceptual understanding, social skills, and attitude toward learning, not just as pedagogical tools but also as practical tools in improving students’ affective domain, creating a safe environment beneficial for the learning process in general. (shrink)

contents -/- i. a game we can't abstain from ii. a sudden God, a Boltzmann God iii. the Hard Problem & Humean causation iv. Turing gave a recipe for consciousness v. the Honeymoon Algorithm vi. Tech Civ takes Earth in vii. Borges, the Compressor viii. Hollywood, where faeries enter ix. in the age of Macbeth, magic x. from King to this vile politician xi. Medieval blue not our color blue xii. the austerities prioritize braingrowth xiii. taste is tactile xiv. (...) if God is a Drama Lord xv. the Hero-Dragon story must be realized. (shrink)

I offer two potential diagnoses of the behavioral norms governing post‐truth politics by comparing the view of language, communication, and truth‐telling put forward by David Lewis (extended by game theorists), and John Searle. My first goal is to specify the different ways in which Lewis, and game theorists more generally, in contrast to Searle (in the company of Paul Grice and Jurgen Habermas), go about explaining the normativity of truthfulness within a linguistic community. The main difference is that (...) for Lewis and game theorists, “truthful” signaling follows from an align- ment of interests, and deception follows from mixed motives leading to the calculation that sending false information is better for oneself. Following in the Enlightenment tradition, Searle argues that practical reasoning, which involves mastery of at least one language, requires that actors intend to communicate. This intention includes constraining the content of statements to uphold veracity conditions. After distinguishing between these two accounts, I will artic- ulate the implications for explaining, and even informing actions, constitutive of post‐truth politics. I argue that the strategic view of communication is suffi- cient neither to model everyday conversation nor to reflect a public sphere useful for democratic govern- ment. Both the pedagogy of strategic communication as cheap talk, and its concordance with new digital information technologies, challenge norms of truthful- ness that underlie modern institutions essential to an effective public sphere. (shrink)

This is a two-volume set that provides an introduction to non-cooperative Game Theory. Volume 1 covers the basic concepts, while Volume 2 is devoted to advanced topics. The book is richly illustrated with approximately 400 figures. It is suitable for both self-study and as the basis for an undergraduate course in game theory as well as a first-year graduate-level class. It is written to be accessible to anybody with high-school level knowledge of mathematics. At the end of each (...) chapter there is a collection of exercises accompanied by detailed answers. The book contains approximately 180 exercises. (shrink)

A philosophical theory of explanation should provide solutions to a series of problems, both descriptive and normative. The aim of this essay is to establish the claim that this can be best done if one theorizes in terms of explanatory games rather than focusing on the explication of the concept of explanation. The position that is adopted is that of an explanatory pluralism and it is elaborated in terms of the rules that incorporate the normative standards that guide the processes (...) of discovery and justification of explanations as well as the modes of their communication, dissemination, and adoption. They constitute the rules of the explanatory game that the participants are playing. The philosophical project consists in describing and normatively appraising the rules that constitute these games. (shrink)

A predicate of personal taste occurring in a sentence in which the perspectival information is not linguistically articulated by an experiencer phrase may have two different readings. In case the speaker of a bare sentence formed with a predicate of personal taste uses the subjective predicate encoding perspectival information in one way and the hearer interprets it in another way, the agents’ acts are not coordinated. In this paper I offer an answer to the question of how a hearer can (...) strategically interact with a speaker on the intended perspectival information so that both agents can optimally solve their coordination problem. In this sense, I offer a game-theoretical account of the strategic communication with expressions referring to agents’ perspectives, communication which involves the interaction between a speaker who intends to convey some perspectival information and who chooses to utter a bare sentence formed with a predicate of personal taste, instead of a sentence in which the perspectival information is linguistically articulated by an experiencer phrase, and a hearer who has to choose between interpreting the uttered sentence in conformity with the speaker’s autocentric use of the predicate of personal taste or in conformity with the speaker’s exocentric use. (shrink)

Alongside the direct parallels and contrasts between traditional narrative fiction and games, there lie certain partial analogies that provide their own insights. This article begins by examining a direct parallel between narrative fiction and games—the role of fictional reliefs and reality checks in shaping aesthetic engagement—before arguing that from this a partial analogy can be developed stemming from a feature that distinguishes most games from most traditional fictions: the presence of rules. The relation between rules and fiction in games has (...) heretofore been acknowledged but not examined in detail, giving an impression of a tension that is constant. However, the paired concepts of formal reliefs and representation checks, once introduced, allow us to explain how rules and fiction interact to alter the ways in which players engage with games in a dynamic but limited way. (shrink)

Talk of ‘robustness’ remains vague, despite the fact that it is clearly an important parameter in evaluating models in general and game-theoretic results in particular. Here we want to make it a bit less vague by offering a graphic measure for a particular kind of robustness— ‘matrix robustness’— using a three dimensional display of the universe of 2 x 2 game theory. In a display of this form, familiar games such as the Prisoner’s Dilemma, Stag Hunt, Chicken and (...) Deadlock appear as volumes, making comparison easy regarding the extent of different game-theoretic effects. We illustrate such a comparison in robustness between the triumph of Tit for Tat in a spatialized environment (Grim 1995, Grim, Mar, and St. Denis 1998) and a spatialized modeling of the Contact Hypothesis regarding prejudice reduction (Grim, et. al 2005a, 2005b). The geometrical representation of relative robustness also offers a possibility for links between geometrical theorems and results regarding robustness in game theory. (shrink)

Godfrey-Smith advocates for linking deception in sender-receiver games to the existence of undermining signals. I present games in which deceptive signals can be arbitrarily frequent, without this undermining information transfer between sender and receiver.

The bi-polar confrontation between the Soviet Union and the USA involved many leading game theorists from both sides of the Iron Curtain: Oskar Morgenstern, John von Neumann, Michael Intriligator, John Nash, Thomas Schelling and Steven Brams from the United States and Nikolay Vorob’ev, Leon A. Petrosyan, Elena B. Yanovskaya and Olga N. Bondareva from the Soviet Union. The formalization of game theory (GT) took place prior to the Cold War but the geopolitical confrontation hastened and shaped its evolution. (...) In our article we outline four similarities and differences between Western GT and Soviet GT: 1) the Iron Curtain resulted in a lagged evolution of GT in the Soviet Union; 2) Soviet GT focused more on operations research and issues of centralized planning; 3) the contemporary Western view on Soviet GT was biased and Soviet contributions, including works on dynamic stability, non-emptiness of the core and many refinements, suggest that Soviet GT was able to catch up to the Western level relatively fast; 4) international conferences, including Vilnius, 1971, fostered interaction between Soviet game theorists and their Western colleagues. In general, we consider the Cold War to be a positive environment for GT in the West and in the Soviet Union. (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)

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)

The pandemic brought new norms and techniques of pedagogical strategies in formal education. The synchronous/ asynchronous video streaming brought an emphasis on virtual and augmented realities, which are rapidly replacing textbooks as the main medium for learning and teaching. This transformation requires more extensive online and interactive content with simpler user interfaces. The aim of this study is to report on the design, implementation, and testing of a game based on low-cost and user-friendly content for digital cultural heritage. In (...) this project, a game aimed at inclusive and equitable education was developed using 360° images of the targeted architectural heritage geographically distributed in a pilot site. We promote lifelong learning opportunities for all, following the SDG4, aiming for quality education with the easy-to-use online platform and easy access to immersive education through mobile platforms. Towards a post-carbon future without the need for travel, computational design methods such as using 360° videos and images in combination with virtual reality (VR) headsets allow a low-cost approach to remotely experiencing cultural heritage. We propose developing and testing a GIS-based educational game using a low-cost 360° virtual tour of architectural heritage, more specifically, caravanserais of Anatolia. (shrink)

We give a complete axiomatization of the identities of the basic game algebra valid with respect to the abstract game board semantics. We also show that the additional conditions of termination and determinacy of game boards do not introduce new valid identities.En route we introduce a simple translation of game terms into plain modal logic and thus translate, while preserving validity both ways, game identities into modal formulae.The completeness proof is based on reduction of (...) class='Hi'>game terms to a certain ‘minimal canonical form’, by using only the axiomatic identities, and on showing that the equivalence of two minimal canonical terms can be established from these identities. (shrink)

We perform an experimental investigation using a dictator game in which individuals must make a moral decision —to give or not to give an amount of money to poor people in the Third World. A questionnaire in which the subjects are asked about the reasons for their decision shows that, at least in this case, moral motivations carry a heavy weight in the decision: the majority of dictators give the money for reasons of a consequentialist nature. Based on the (...) results presented here and of other analogous experiments, we conclude that dicator behavior can be understood in terms of moral distance rather than social distance and that it systematically deviates from the egoism assumption in economic models and game theory. (shrink)

THE IDENTITY GAME THE CORE MECHANICS RULE There is only one rule: A thing can only be understood by what it is not. This single rule generates all meaning. FORMULA Intelligence = Awareness × Distinction Understanding emerges when awareness meets distinction. Each new distinction multiplies against awareness, transforming all previous understanding. WEB Because of the rule, every distinction creates connections to everything it is not. This forms an inverse web of meaning - each thing defined by its differences from (...) all other things. Every new distinction both adds to and transforms this web. DIMENSIONS A dimension is a particular kind of field of experience 5 sensory dimensions visual, auditory, tactile, Olfactory, Gustatory. 1 conceptual dimension Within each sensory dimension, new distinctions create understanding. In sight, colors distinguish themselves from each other. In sound, tones separate from silence. Every distinction follows the rule, multiplies understanding, and adds to the web. These sensory distinctions flow into the conceptual dimension, where they combine and transform into abstract understanding. Any specific object is known through the interplay of its sight, sound, feel, and its conceptual distinctions from all other objects. The Identity Game is not a game we can choose to play or not play it is the process through which all understanding emerges. In recognizing this, we do not transcend the game but play it more deeply. To understand is to demonstrate it To reject it is to prove it. (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)

Researchers interested in player’s experience would assumedly, across disciplines, agree that the goal behind enquiries into player’s experience is to understand the how games’ features end up affecting the player’s experience. Much of the contemporary interdisciplinary research into player’s experience leans toward the empirical-scientific, in the forms psychology, sociology and cognitive science, to name a few. In such approaches, for example demonstrating correlation between physiological symptoms and an in-game event may amount to ‘understanding’. However, the experience of computer (...) class='Hi'>game play is a viable topic also for computer game studies within the general tradition of humanities. In such context, the idea of ‘understanding an experience’ invites an approach focusing on the experienced significance of events and objects within computer game play. This focus, in turn, suggests turning to the principles associated with phenomenology, among which is the idea of describing things as they appear, or as they are given, in the experience, from the first-person perspective. From the first-person perspective the challenge lies not in the subjective experience’s inaccessibility but in the inherent personal richness of the experience’s content. Rather than trying to embrace the richness by engaging in direct introspection, it makes sense to focus the search on the conditions of the player’s experience. In this paper, I discuss the idea of “firstperson perspective” in the context of computer game studies. I propose that conditions for player’s experience could be sought from the materiality of the computer game artefact, rather than from the ‘processual’ or ‘ideal game’. I derive the notion of gameplay condition3 from the overlap of the player’s “lusory attitude” and the materiality of the single-player computer game artefact as it appears in the player’s experience. (shrink)

Drawing from narratology and design studies, this article makes use of the notions of the ‘implied designer’ and ‘ludic unreliability’ to understand deceptive game design as a specific sub-set of transgressive game design. More specifically, in this text we present deceptive game design as the deliberate attempt to misguide players’ inferences about the designers’ intentions. Furthermore, we argue that deceptive design should not merely be taken as a set of design choices aimed at misleading players in their (...) efforts to understand the game, but also as decisions devised to give rise to experiential and emotional effects that are in the interest of players. Finally, we propose to introduce a distinction between two varieties of deceptive design approaches based on whether they operate in an overt or a covert fashion in relation to player experience. Our analysis casts light on expressive possibilities that are not customarily part of the dominant paradigm of user-centered design, and can inform game designers in their pursuit of wider and more nuanced creative aspirations. (shrink)

Games are a distinctive form of art — and very different from many traditional arts. Games work in the medium of agency. Game designers don’t just tell stories or create environments. They tell us what our abilities will be in the game. They set our motivations, by setting the scoring system and specifying the win-conditions. Game de-signers sculpt temporary agencies for us to occupy. And when we play games, we adopt these designed agencies, submerging ourselves in them, (...) and taking on their specified ends for a while. Games constitute a library of agencies — and by exploring them, we can learn new ways to inhabit our own agency. When we play games, we engage in a special form of agential fluidity. We can absorb ourselves temporarily in alternate, constructed agencies. Games make use of that capacity to record different practical mindsets. Games turn out to be our technology for communicating forms of agency. (shrink)