Results for 'video games'

308 found
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  1. Video Games as Self‐Involving Interactive Fictions.Jon Robson & Aaron Meskin - 2016 - Journal of Aesthetics and Art Criticism 74 (2):165-177.
    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 (...)
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  2. Video Games and Ethics.Monique Wonderly - 2017 - In Joseph C. Pitt & Ashley Shew (eds.), Spaces for the Future: A Companion to Philosophy of Technology. New York, USA: Routledge.
    Historically, video games featuring content perceived as excessively violent have drawn moral criticism from an indignant (and sometimes, morally outraged) public. Defenders of violent video games have insisted that such criticisms are unwarranted, as committing acts of virtual violence against computer-controlled characters – no matter how heinous or cruel those actions would be if performed in real life – harm no actual people. In this paper, I present and critically analyze key aspects of this debate. I (...)
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  3. The Semiotics of Video Games.Christophe Bruchansky - 2011
    What is the difference between a game and life? Is the game really ending when we go back to our everyday activities? Or could The Sims video game not be a good representation of our existence? It is with these questions in mind that I decided to explore the interdependence that exists between our everyday cultural reality and the rhetoric manifesting itself in video games. This paper introduces some of the key concepts used in the semiotics of (...)
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  4. Defending the Morality of Violent Video Games.Marcus Schulzke - 2010 - Ethics and Information Technology 12 (2):127-138.
    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 (...)
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  5. Beyond Good and Evil? Morality in Video Games.Geert Gooskens - 2011 - Philosophical Writings (1):37-44.
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  6.  57
    The Virtual Brain: 30 Years of Video-Game Play and Cognitive Abilities.Andrew James Latham, Lucy L. M. Patston & Lynette J. Tippett - 2013 - Frontiers in Psychology 4.
    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 (...)
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  7.  44
    Games 2.0 Jako Próba Konstrukcji Społeczno-Kulturowego Perpetuum Mobile.Andrzej Klimczuk - 2008 - Homo Communicativus 5:177--187.
    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 (...)
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  8. Games and the Art of Agency.C. Thi Nguyen - 2019 - Philosophical Review 128 (4):423-462.
    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 (...)
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  9. Simon-Task Reveals Balanced Visuomotor Control in Experienced Video-Game Players.Andrew James Latham, Christine Westermann, Lucy L. M. Patston, Nathan A. Ryckman & Lynette J. Tippett - 2019 - Journal of Cognitive Enhancement 3 (1):104-110.
    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. (...)
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  10.  86
    Earlier Visual N1 Latencies in Expert Video-Game Players: A Temporal Basis of Enhanced Visuospatial Performance.Andrew James Latham, Lucy L. M. Patston, Christine Westermann, Ian J. Kirk & Lynette J. Tippett - 2013 - PLoS ONE 8 (9).
    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, (...)
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  11. The Problem of Evil in Virtual Worlds.Brendan Shea - 2017 - In Mark Silcox (ed.), Experience Machines: The Philosophy of Virtual Worlds. Lanham, MD: Rowman & Littlefield. pp. 137-155.
    In its original form, Nozick’s experience machine serves as a potent counterexample to a simplistic form of hedonism. The pleasurable life offered by the experience machine, its seems safe to say, lacks the requisite depth that many of us find necessary to lead a genuinely worthwhile life. Among other things, the experience machine offers no opportunities to establish meaningful relationships, or to engage in long-term artistic, intellectual, or political projects that survive one’s death. This intuitive objection finds some support in (...)
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  12. Augmented Ontologies or How to Philosophize with a Digital Hammer.Stefano Gualeni - 2014 - Philosophy and Technology 27 (2):177-199.
    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 (...)
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  13. Living-Into, Living-With: A Schutzian Account of the Player/Character Relationship.Rebecca A. Hardesty - 2016 - Glimpse 17:27-34.
    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 (...)
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  14.  55
    "Shining Lights, Even in Death": What Metal Gear Can Teach Us About Morality.Ryan Wasser - 2019 - Digital Commons @ West Chester University.
    Morality has always been a pressing issue in video game scholarship, but became more contentious after “realistic” violence in games became possible. However, few studies concern themselves with how players experience moral dilemmas in games, choosing instead to focus on the way games affect postplay behavior. In my thesis I discuss the moral choices players encounter in the Metal Gear series of games; then, I analyze and compare the responses of players with and without martial (...)
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  15.  36
    Gry Komputerowe I Branża Gier a Sztuka Komiksowa.Andrzej Klimczuk - 2011 - In Grażyna Gajewska & Rafał Wójcik (eds.), Contextual Mix. Through Graphic Stories to Analyses of Contemporary Culture. Poznańskie Towarzystwo Przyjaciół Nauk. pp. 385--396.
    Growth in popularity of computer games is a noticeable change in recent years. Electronic entertainment increasingly engages the wider society and reaches to new audiences by offering them satisfy of wide variety of needs and aspirations. As a mass media games not only provide entertainment, but they are also an important source of income, knowledge and social problems. Article aims to bring closer look on the common areas of games and comics. On the one hand designers and (...)
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  16.  26
    Drugie Życie, Czyli Problemy Z Przedłużaniem Rzeczywistości.Andrzej Klimczuk - manuscript
    Linden Lab studies massive online game "Second Life" unexpectedly gained worldwide fame after a few years after release. To the surprise of many game has met with great interest, despite the lack of promotional campaigns. It can be assumed that the reason why "second life" reached a wider audience was a special type of offered entertainment. Network game proved to be no longer a game that was known so far, but an example of a mass media, whose central element is (...)
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  17. Interactivity, Fictionality, and Incompleteness.Nathan Wildman & Richard Woodward - forthcoming - In Grant Tavinor & Jon Robson (eds.), The Aesthetics of Videogames. Routledge.
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  18. Life Is Strange and ‘‘Games Are Made’’: A Philosophical Interpretation of a Multiple-Choice Existential Simulator With Copilot Sartre.Luis de Miranda - 2016 - Games and Culture 1 (18).
    The multiple-choice video game Life is Strange was described by its French developers as a metaphor for the inner conflicts experienced by a teenager in trying to become an adult. In psychological work with adolescents, there is a stark similarity between what they experience and some concepts of existentialist philosophy. Sartre’s script for the movie Les Jeux Sont Faits (literally ‘‘games are made’’) uses the same narrative strategy as Life is Strange—the capacity for the main characters to travel (...)
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  19.  82
    Just How Expert Are “Expert” Video-Game Players? Assessing the Experience and Expertise of Video-Game Players Across “Action” Video-Game Genres.Andrew James Latham, Lucy L. M. Patston & Lynette J. Tippett - 2013 - Frontiers in Psychology 4.
    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 (...)
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  20. Still Self-Involved: A Reply to Patridge.Jon Robson & Aaron Meskin - 2017 - Journal of Aesthetics and Art Criticism 75 (2):184-187.
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  21. Towards a Science of Emerging Media.Barry Smith - 2015 - In J. E. Katz & J. Floyd (eds.), Philosophy of Emerging Media: Understanding, Appreciation and Application. Oxford University Press. pp. 29-48.
    If media studies are to become established as a genuine science, then it needs to be determined what the subject matter of this science is to be. I propose a specification of this subject matter as consisting in: 1. the new sorts of digital entities that have been added to social reality through the invention of the digital computer, and 2. the new sorts of interactions involving human beings which such entities make possible. I support this proposal by examining examples (...)
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  22.  44
    Aesthetics And Popular Art: An Interview With Aaron Meskin.Aaron Meskin - 2010 - Postgraduate Journal of Aesthetics 7 (2):1-9.
    As is usually the case with what I work on, I read some stuff I liked. I 1 read an article on comics by Greg Hayman and Henry Pratt and some work on 2 videogames,GrantTavinor’sreallyexcellentworkonthattopic. Ifoundthematerial interesting and I thought I had something to say about it. That’s what usually motivates me and that’s what did in these cases. With comics, my interest in the medium played a big role. I was a child collector of Marvel. I got turned on (...)
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  23.  2
    History of Computer Art, Second Edition.Thomas Dreher - 2020 - Morrisville, USA: Lulu Press.
    The development of the use of computers and software in art from the Fifties to the present is explained. As general aspects of the history of computer art an interface model and three dominant modes to use computational processes (generative, modular, hypertextual) are presented. The "History of Computer Art" features examples of early developments in media like cybernetic sculptures, computer graphics and animation (including music videos and demos), video and computer games, reactive installations, virtual reality, evolutionary art and (...)
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  24. Papers, Please and the Systemic Approach to Engaging Ethical Expertise in Videogames.Formosa Paul, Ryan Malcolm & Staines Dan - 2016 - Ethics and Information Technology 18 (3):211-225.
    Papers, Please, by Lucas Pope (2013), explores the story of a customs inspector in the fictional political regime of Arstotzka. In this paper we explore the stories, systems and moral themes of Papers, Please in order to illustrate the systemic approach to designing videogames for moral engagement. Next, drawing on the Four Component model of ethical expertise from moral psychology, we contrast this systemic approach with the more common scripted approach. We conclude by demonstrating the different strengths and weaknesses that (...)
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  25.  29
    ITS for Health Problems Related to Addiction of Video Game Playing.Mohran Bayed - 2017 - International Journal of Advanced Scientific Research 1 (2):4-10.
    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 (...)
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  26.  89
    Playing Around With Morality: Introducing the Special Issue on “Morality Play”.Malcolm Ryan, Paul Formosa & Rowan Tulloch - 2019 - Games and Culture 14 (4):299–305.
    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.
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  27. The Experience Machine: Existential Reflections on Virtual Worlds.Stefano Gualeni - 2016 - Journal of Virtual Worlds Research 9 (3).
    Problems and questions originally raised by Robert Nozick in his famous thought experiment ‘The Experience Machine’ are frequently invoked in the current discourse concerning virtual worlds. Having conceptualized his Gedankenexperiment in the early seventies, Nozick could not fully anticipate the numerous and profound ways in which the diffusion of computer simulations and video games came to affect the Western world. -/- This article does not articulate whether or not the virtual worlds of video games, digital simulations, (...)
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  28.  56
    Zastosowanie Koncepcji Kapitału Społecznego W Badaniach Ludologicznych. Przykład Branży Gier Komputerowych.Andrzej Klimczuk - 2010 - Homo Ludens 2:51--59.
    More and more people around the world are using computer (video) games. The development of the gaming industry means increasing of its complexity in all aspects. Not only is the content represented in games continuously differentiating, but we also see the increasing diversity among their creators, users, researchers and the public. This article aims to draw attention to the possibility of using the concept of social capital in ludologists’ research as well as in improving the quality of (...)
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  29. Virtual World-Weariness: On Delaying the Experiential Erosion of Digital Environments.Stefano Gualeni - 2019 - In A. Gerber & U. Goetz (eds.), The Architectonics of Game Spaces: The Spatial Logic of the Virtual and its Meaning for the Real. Bielefeld: Transcript. pp. 153-165.
    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 (...)
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  30.  71
    An Analysis of the Interaction Between Intelligent Software Agents and Human Users.Christopher Burr, Nello Cristianini & James Ladyman - 2018 - Minds and Machines 28 (4):735-774.
    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 (...)
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  31. Zarządzanie Zasobami Ludzkimi W Redakcji Internetowego Serwisu o Grach Komputerowych.Andrzej Klimczuk - 2012 - E-Wydawnictwo:1--20.
    Dziennikarstwo branżowe ma istotne znaczenie dla tworzenia i użytkowania gier komputerowych (wideo), które stanowią podstawę jednego z przemysłów kształtującej się na początku XXI wieku gospodarki kreatywnej. Przedstawiciele mediów informują o postępach w pracach nad nowymi grami, testują je przed premierą, wskazują deweloperom wady i zalety ich produkcji. W ten sposób oddziałują na opinie użytkowników oraz opisują wydarzenia i trendy związane ze środowiskami zajmującymi się bezpośrednio grami, jak też z ich otoczeniem. Celem artykułu jest prezentacja studium przypadku modelu zarządzania zasobami ludzkimi (...)
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  32. Dossier Gaialight 2007-2011.Gavin Keeney - manuscript
    Essays and documents in support of the works of Gaialight - DOCUMENTS: The Passion of Jeanne d’Art (2007) - Letter to Gaia (2007) - “Art as Such”: This is Not Pop ... (2008) - Writing Toward Darkness (2009) - Scarlett Words: Light America (2009) - The Darklight Elaboration (2010) - The Darklight Elaboration: Zeitgeist or Episteme? (2010) - Cam Girls (2011) - Brooklyn Buzz (2011) - Brooklyn Buzz: The Semi-divine Metropolis (2011) - Reconnaissance: Light War, Mass Surveillance, Video (...) (2011) - First Cause (2011) - Met Ladies (2011) - When Cam Girls Met Ladies (2011) / OUTTAKES (2007): 15 Questions About Editioned Art Photography (2007) - A Few Awkward Questions for Francesca Woodman (2007) - October Revolution (2007) . (shrink)
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  33. History of Computer Art.Thomas Dreher - 2014 - IASLonline.
    A large text presents the history of Computer Art. The history of the artistic uses of computers and computing processes is reconstructed from its beginnings in the fifties to its present state. It points out hypertextual, modular and generative modes to use computing processes in Computer Art and features examples of early developments in media like cybernetic sculptures, video tools, computer graphics and animation (including music videos and demos), video and computer games, pervasive games, reactive installations, (...)
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  34. Morality Play: A Model for Developing Games of Moral Expertise.Dan Staines, Paul Formosa & Malcolm Ryan - 2019 - Games and Culture 14 (4):410-429.
    According to cognitive psychologists, moral decision-making is a dual-process phenomenon involving two types of cognitive processes: explicit reasoning and implicit intuition. Moral development involves training and integrating both types of cognitive processes through a mix of instruction, practice, and reflection. Serious games are an ideal platform for this kind of moral training, as they provide safe spaces for exploring difficult moral problems and practicing the skills necessary to resolve them. In this article, we present Morality Play, a model for (...)
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  35. Philosophy of Games.C. Thi Nguyen - 2017 - Philosophy Compass 12 (8):e12426.
    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 (...)
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  36. Modifications to Aristotle's Poetics.E. Garrett Ennis - manuscript
    Aristotle's Poetics has been the basis for theories of entertainment for over 2,000 years. But the general approach it uses has led to a number of gaps, contradictions, and difficulties in predicting the success of books, plays, movies, and entertainment as a whole, so much so that sayings like "there are no rules, but you break them at your peril," and "in Hollywood, nobody knows anything" have become widespread and accepted. -/- However, it turns out that a model of entertainment (...)
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  37.  46
    On Beauty: All Roads Disgorge to Black Decay.Francisco Valdez - manuscript
    When Kant begins his judgements of beauty in several step eventually, we reach a nexus to which taste and a certain subjectivity is taken into account. But at the end of the day we ask ourselves why is it beautiful? There are certain objects such as tragic poems and video games that are beautiful deemed beautiful. In this essay I will explore the tension created by Kant’s judgements of beauty and the beauty of tragedy through the medium of (...)
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  38.  50
    Death - Cultural, Philosophical and Religious Aspects.Nicolae Sfetcu - 2016 - Drobeta Turnu Severin: MultiMedia Publishing.
    About death, grief, mourning, life after death and immortality. Why should we die like humans to survive as a species. "No one wants to die. Even people who want to go to heaven don't want to die to get there. And yet death is the destination we all share. No one has ever escaped it. And that is as it should be, because Death is very likely the single best invention of Life. It is Life's change agent. It clears out (...)
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  39. Constitutive Rules: Games, Language, and Assertion.Indrek Reiland - 2020 - Philosophy and Phenomenological Research 100 (1):136-159.
    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, (...)
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  40. Games: Agency as Art.C. Thi Nguyen - 2020 - New York: Oxford University Press.
    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 (...)
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  41. Deception in Sender–Receiver Games.Manolo Martínez - 2015 - Erkenntnis 80 (1):215-227.
    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.
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  42. The Precision of Experienced Action Video-Game Players: Line Bisection Reveals Reduced Leftward Response Bias.Andrew James Latham, Lucy L. M. Patston & Lynette J. Tippett - 2014 - Attention, Perception, and Psychophysics 76 (8):2193-2198.
    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 (...)
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  43. There's No Place Like Home: Dwelling and Being at Home in Digital Games.Daniel Vella - 2019 - In Espen Aarseth & Stephan Günzel (eds.), Ludotopia: Spaces, Places and Territories in Computer Games. Bielefeld, Germany: pp. 141-166.
    This chapter considers the presence, in digital games, of experiences of dwelling. Starting with an engagement with the philosopher Edward S. Casey's distinction between hestial and hermetic spatial modes, the chapter argues that the player's spatial engagement with digital game worlds has tended to align with the hermetic pole, emphasizing movement, traversal and exploration. By contrast, hestial spatial practices, characterized by centrality, lingering and return, are far less prevalent both in digital games themselves and in discussions on spatiality (...)
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  44. Some Epistemic Benefits of Action-Tetris, a Case Study.David Kirsh & P. Maglio - 1992 - Proceedings of the 14th Annual Conference of the Cognitive Science Society.
    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 (...)
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  45. Freedom and the Value of Games.Jonathan Gingerich - 2018 - Canadian Journal of Philosophy 48 (6):831-849.
    This essay explores the features in virtue of which games are valuable or worthwhile to play. The difficulty view of games holds that the goodness of games lies in their difficulty: by making activities more complex or making them require greater effort, they structure easier activities into more difficult, therefore more worthwhile, activities. I argue that a further source of the value of games is that they provide players with an experience of freedom, which they provide (...)
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  46. Interests, Evidence and Games.Brian Weatherson - 2018 - Episteme 15 (3):329-344.
    Pragmatic encroachment theories have a problem with evidence. On the one hand, the arguments that knowledge is interest-relative look like they will generalise to show that evidence too is interest-relative. On the other hand, our best story of how interests affect knowledge presupposes an interest-invariant notion of evidence. -/- The aim of this paper is to sketch a theory of evidence that is interest-relative, but which allows that ‘best story’ to go through with minimal changes. The core idea is that (...)
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  47. Games, Goals, and Bounded Rationality.Leigh Tesfatsion - 1984 - Theory and Decision 17 (2):149-175.
    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 (...)
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  48.  56
    Video Feedback in Philosophy.Andy Lamey - 2015 - Metaphilosophy 46 (4-5):691-702.
    Marginal comments on student essays are a near-universal method of providing feedback in philosophy. Widespread as the practice is, however, it has well-known drawbacks. Commenting on students' work in the form of a video has the potential to improve the feedback experience for both instructors and students. The advantages of video feedback can be seen by examining it from both the professor's and the student's perspective. In discussing the professor's perspective, this article shares observations based on the author's (...)
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  49. Precis of Games: Agency as Art.C. Thi Nguyen - manuscript
    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, (...)
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  50. Focus, Sensitivity, Judgement, Action: Four Lenses for Designing Morally Engaging Games.Malcolm Ryan, Dan Staines & Paul Formosa - 2017 - Transactions of the Digital Games Research Association 2 (3):143-173.
    Historically the focus of moral decision-making in games has been narrow, mostly confined to challenges of moral judgement (deciding right and wrong). In this paper, we look to moral psychology to get a broader view of the skills involved in ethical behaviour and how these skills can be employed in games. Following the Four Component Model of Rest and colleagues, we identify four “lenses” – perspectives for considering moral gameplay in terms of focus, sensitivity, judgement and action – (...)
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