Journal articles: 'Philosophy of video games'

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Bratkowski, Tad. "Philosophy Through Video Games." Teaching Philosophy 33, no. 3 (2010): 317–20. http://dx.doi.org/10.5840/teachphil201033333.

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Hoare, Douglas. "The Philosophy of Video Games (Philosophie des Jeux Vidéo), Mathieu Triclot (2017)." Journal of Gaming & Virtual Worlds 11, no. 2 (September 1, 2019): 203–5. http://dx.doi.org/10.1386/jgvw.11.2.203_5.

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Elton, Matthew. "SHOULD VEGETARIANS PLAY VIDEO GAMES?" Philosophical Papers 29, no. 1 (April 2000): 21–42. http://dx.doi.org/10.1080/05568640009506605.

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Kamp, Michiel. "Musical Ecologies in Video Games." Philosophy & Technology 27, no. 2 (June 26, 2013): 235–49. http://dx.doi.org/10.1007/s13347-013-0113-z.

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Belyaev, Dmitriy A., and Ulyana P. Belyaeva. "Video games as a screen-interactive platform of historical media education: educational potential and risks of politicization." Perspectives of Science and Education 52, no. 4 (September 1, 2021): 478–91. http://dx.doi.org/10.32744/pse.2021.4.32.

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Screen culture today, absorbing verbal-narrative and written culture, is the dominant memorial-representative format for the reproduction, preservation and broadcast of cultural information. Among the varieties of screen culture, since the beginning of the 21st century, video games have become especially popular and widespread. They possess unique interactive-procedural qualities, which, together with the traditional grammar of screen narrative, create an original complex of rhetorical techniques that effectively influence the mass public consciousness. In turn, the plot and visual design of video games is often based on historical narratives, becoming a platform for virtual interactive reconstruction of history. The study is devoted to the up-to-date topic of analyzing the on-screen phenomenon of video games as an innovative platform for historical media education, identifying its educational potential and the risks of political distortion of history. The methodological basis of the study is cultural-civilizational, dialectical and historical approaches, as well as structural-functional analysis, comparative-political science approach and systemic method. The study made it possible to identify a wide range of historical video games and classify the modalities of the implementation of historical topics in them with its general educational potential. In addition, the fundamental deconstructive nature of the actualization of the historical metanarrative in the procedural-interactive architectonics of video games has been determined. Finally, three main strategies for distorting and falsifying history in video games have been revealed. According to the results of the study, it was revealed that almost every significant cultural and historical era, with an emphasis on military battle plots, is reflected in the video game format. These game projects have serious educational potential, procedurally immersing the gamer in the context of the main historical facts, cultural aesthetics of the era and internal determinants of historical dynamics. At the same time, the postmodern essence of video games has been established, which poses a threat to the invariance of the perception of history, latently encouraging the intentions to rewrite it. Other risks are contained in the identified examples of politicization of the historical narrative of video games, which are concretized in the tendency to belittle the role of Russia in the international arena and the Eurocentric value accentuation.

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Gee, James Paul. "Video Games, Design, and Aesthetic Experience." Rivista di estetica, no. 63 (December 1, 2016): 149–60. http://dx.doi.org/10.4000/estetica.1312.

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Belyaev, Dmitry Anatolyevich, and Ulyana Pavlovna Belyaeva. "Discourses and Semantic Tropes of the Philosophical Explication of Video Games." Problemos 96 (October 16, 2019): 172–83. http://dx.doi.org/10.15388/problemos.96.14.

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The article explores one of the most remarkable and dynamic phenomena of modern technoculture – video games. It reconstructs the genesis of the philosophical discourse on video games, exposing the main difficulties arising in making the definitions. Special importance is attached to the critical comparative analysis of the major strategies for the philosophical explication of video games. With the aid of the method of comparative-historical reconstruction and a structuralist approach, the essential correlations between the essential definition of a video game and the ontological systems of Plato, the Gnostics, G. Berkeley, E. Kant, as well as post-modern philosophy was established. The research results in formulating a model-integrative definition of a video game.

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Schulzke, Marcus. "Simulating Philosophy: Interpreting Video Games as Executable Thought Experiments." Philosophy & Technology 27, no. 2 (February 26, 2013): 251–65. http://dx.doi.org/10.1007/s13347-013-0102-2.

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Ortiz, Luz, Héctor Tillerias, Christian Chimbo, and Veronica Toaza. "Impact on the video game industry during the COVID-19 pandemic." Athenea 1, no. 1 (September 25, 2020): 5–13. http://dx.doi.org/10.47460/athenea.v1i1.1.

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This work presents trends and comparisons that show a change in the consumption and production of video games in times of confinement due to the health emergency. The video game industry has modified its philosophy and adapted its products to the new requirements and trends of consumers who see in this activity a way to appease the psychological and social impact due to quarantine and isolation. There is evidence of a 65% increase in the use of online video games, which has broken a world record. Products that have new aspects and considerations never before proposed by this great industry have been developed and offered, such as thematic games related to the COVID-19 pandemic. Keywords: Video game, pandemic, online games, confinement. References [1]M. Olff, Screening for consequences of trauma–an update on the global collaboration on traumatic stress.European Journal of Psychotraumatology, 2020. [2]Z. Li, China’s Digital Content Publishing Industry: The 2019 Annual Report on Investment Insights and Market Trends. Publishing Research Quarterly, 2020. [3]R. Agis, An event-driven behavior trees extension to facilitate non-player multi-agent coordination in video games, Expert Systems with Applications, 2020. [4]O. Wulansari, Video games and their correlation to empathy: How to teach and experience empathic emotion. Advances in Intelligent Systems and Computing, 2020. [5]C. Bachen, Simulating real lives: Promoting Global Empathy and Interest in Learning Through SimulationGames. Sage Journal, 2012. [6]S. Fowler, Intercultural simulation games: A review (of the united states and beyond). Sage Journals, 2010. [7]G. Chursin, Learning game development with Unity3D engine and Arduino microcontroller. Journal ofPhysics: Conference Series, 2019. [8]K. Hewett, The Acquisition of 21st-Century Skills Through Video Games: Minecraft Design Process Modelsand Their Web of Class Roles. Sage Journal, 2020. [9]R. Bayeck, Exploring video games and learning in South Africa: An integrative review. Educational TechnologyResearch and Development, 2020. [10]K. Hewett, The 21st-Century Classroom Gamer. Games and Culture, 2021.

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PATRIDGE, STEPHANIE. "Video Games and Imaginative Identification." Journal of Aesthetics and Art Criticism 75, no. 2 (April 2017): 181–84. http://dx.doi.org/10.1111/jaac.12355.

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Denning, Andrew. "Deep Play? Video Games and the Historical Imaginary." American Historical Review 126, no. 1 (March 1, 2021): 180–98. http://dx.doi.org/10.1093/ahr/rhab002.

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Abstract Video games earned $43.8 billion in revenue in 2018, and many of the most popular and enduring games in recent years are set in historical environments. They are a form of popular art that sheds light on the mentalité of our era. As this article argues, the act of participating in history in virtual forums frames the public’s view of history. This article examines how recent video games focused on the Nazis shape public understanding of the Third Reich, as well as how they stage who and what matters in history and assume how historical change occurs. Historical video games connect the past to present, shaping historical memory and contemporary political debates simultaneously. Video games are a form of “deep play” that build knowledge of the past and present, but that knowledge must be broadened through historians’ attention to structural forces and disadvantaged groups. Historians should understand how video games shape the wider public’s knowledge and philosophy of history, and they should develop strategies to bring the virtues of play into their own research and teaching.

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Hayot, Eric. "Video Games & the Novel." Daedalus 150, no. 01 (October 2020): 178–87. http://dx.doi.org/10.1162/daed_a_01841.

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In the last sixty years, the video game industry has grown from quite literally nothing to a behemoth larger than the film or television industries. This enormous change in the shape of cultural production has failed to make much of an impact on the study of culture more generally, partly because video games seem so much less culturally important than novels. No one has ever imagined the Great American Video Game. But video games have more in common with novels than you might think, and vice versa. Anyone trying to understand the combination of neoliberal individualism and righteous murderousness that characterizes our world today will do well to pay them some attention.

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Annetta, Len. "Learning science through video games and simulations." Science Education 96, no. 3 (February 28, 2012): 566–68. http://dx.doi.org/10.1002/sce.20485.

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Perfilov, Yu A. "COMPOSITIONAL FEATURES OF VIDEO GAME TEXTS DURING THE PERIOD OF 1970-1982." Bulletin of Udmurt University. Series History and Philology 30, no. 5 (October 27, 2020): 853–58. http://dx.doi.org/10.35634/2412-9534-2020-30-5-853-858.

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The article discusses the compositional features of the texts of games of various genres, presented on the Western market in the period of 1970-1982. The appeal to the topic of computer games is due to the fact that in domestic linguistics the texts of video games have been little studied at the moment, but in other branches of the humanities there is an active study of games in various aspects of science. Various points of view on the relative understanding of the game and the term “game” are presented in the context of philosophy, linguistics; methods for studying the texts of computer games, directions such as narratology and ludology and their differences are characterized. The topic of the direct dependence of the text of a video game on technological progress is touched upon: the placement of text inside the game or on other sources of information. On the material of such types of texts of video games as an interface, code, instructions, brochure, subtitle, etc., their compositional features are described.

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ROBSON, JON, and AARON MESKIN. "Video Games as Self-Involving Interactive Fictions." Journal of Aesthetics and Art Criticism 74, no. 2 (April 2016): 165–77. http://dx.doi.org/10.1111/jaac.12269.

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Jantzen, Gitte, and Jans F. Jensen. "Powerplay — Power, violence and gender in video games." AI & Society 7, no. 4 (December 1993): 368–85. http://dx.doi.org/10.1007/bf01891418.

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TAVINOR, GRANT. "What's My Motivation? Video Games and Interpretative Performance." Journal of Aesthetics and Art Criticism 75, no. 1 (January 2017): 23–33. http://dx.doi.org/10.1111/jaac.12334.

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Yap, Christopher Michael, Youki Kadobayashi, and Suguru Yamaguchi. "Conceptualizing Player-Side Emergence in Interactive Games." International Journal of Gaming and Computer-Mediated Simulations 7, no. 3 (July 2015): 1–21. http://dx.doi.org/10.4018/ijgcms.2015070101.

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The concept of emergence exists in many fields such as Philosophy, Information Science, and Biology. With respect to the modern video game, emergence can potentially manifest as emergent narrative and/or gameplay. In this paper, the authors engage in a critical discussion about what it means for an interactive video game to have emergence. The authors frame the discussion of emergence as a close critical look at the games Papers, Please and Gone Home. From these analyses, the authors propose a concept of “Player-side emergence in games,” in which emergence in the form of narrative is expressible and observable in games which rely not on the game software itself, but also upon the complex system of the human mind for reconstruction of the game experience and a subsequent expression of emergence. The authors contend that such an emergent design consideration is potentially useful for designers who are trying to address the trade-off of Ludo-Narrative Dissonance.

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Cogburn, Jon, and Mark Silcox. "Computing Machinery and Emergence: The Aesthetics and Metaphysics of Video Games." Minds and Machines 15, no. 1 (February 2005): 73–89. http://dx.doi.org/10.1007/s11023-004-1168-5.

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FILIPOVIĆ, ALEKSANDAR, and ŽELJKO BJELAJAC. "GAMIFICATION OF LEARNING: USE OF VIDEO GAME IN EDUCATION PROCESS." Kultura polisa, no. 45 (July 3, 2021): 103–18. http://dx.doi.org/10.51738/kpolisa2021.18.2r.2.01.

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The pre-Socratic Greek philosopher Anaxagoras was a proponent of the theory that in all things there are parts of all other things, and that it must be considered that everything was in everything else. In the derived sense, it can be said that, since everything is contained in everything else, then anything can be explained through anything else. In the applied sense, this would mean that the elements of one thing can be applied to any other thing, and the phenomenon of gamification confirms the claim of this ancient philosopher. Widely and directly applicable as rarely any other thing, gamification, that is, the application of elements and principles from video games (or games in general) in non-gaming environments, has become one of the most sought after new technological solutions. Its application is extremely wide - from security services and business, all the way to the focus of this paper, which is the process of learning and education. The aim of this paper is to research the phenomenon of gamification of education, by defining and determining the factors and elements of that process, and then, by analyzing examples of practical application of this phenomenon, give an evaluation of the current situation, with a projection of the further development of this increasingly important phenomenon.

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du Plessis, Corné. "Subverting utilitarian subject-object relations in video games: A philosophical analysis of Thatgamecompany’s Journey." South African Journal of Philosophy 37, no. 4 (October 2, 2018): 466–79. http://dx.doi.org/10.1080/02580136.2018.1532189.

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Chandrasekharan, Sanjay, Alexandra Mazalek, Michael Nitsche, Yanfeng Chen, and Apara Ranjan. "Ideomotor design." Pragmatics and Cognition 18, no. 2 (August 13, 2010): 313–39. http://dx.doi.org/10.1075/pc.18.2.04cha.

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Recent experiments show video games have a range of positive cognitive effects, such as improvement in attention, spatial cognition and mental rotation, and also overcoming of cognitive disabilities such as fear of flying. Further, game environments are now being used to generate scientific discoveries, and bring about novel phenomenological effects, such as out-of-body experiences. These advances provide interesting interaction design possibilities for video games. However, since the cognitive mechanisms underlying these experimental effects are unknown, it is difficult to systematically derive novel systems and interaction designs based on these results. We review the emerging cognitive mechanism known as common coding (which proposes a common neural representation connecting execution, perception and imagination of movements), and outline how this mechanism could provide an integrated account of the cognitive effects of video games. We then illustrate, using two ongoing projects, how novel video game interaction designs could be derived by extending common coding theory.

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Ayers, William R. "What Is It Like to Be a Dolphin? Echolocation and Subjectivity in Video Games." Journal of Sound and Music in Games 2, no. 3 (2021): 1–33. http://dx.doi.org/10.1525/jsmg.2021.2.3.1.

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Echolocation is a rare ability of some bats, dolphins, and humans with reduced sightedness or visual impairment. Often visualized as a type of auditory sight, echolocation has no true analog for sighted humans without the ability, resulting in a wide range of interpretations when game designers attempt to capture this subjective experience. Video games have depicted echolocation with varying degrees of fidelity and realism, from musical scales and maps to fully realized three-dimensional worlds. This variety may be attributed in part to the inaccessible experience of the echolocating subjects. Designers must rely on their own subjective experiences to create a mental image of this ability. Synthesizing aspects of acoustic and biological sciences, philosophy, and disability studies, this article examines depictions of echolocation in video games, demonstrating that games require players to incorporate their own experiences in order to bridge the “explanatory gap” between the subjective experiences of visually impaired characters and knowledge of the objective processes of echolocation that are accessible to sighted players. With examples from Ecco the Dolphin (1992) and Perception (2017), this article will show that designers support their echolocation mechanics with narrative and supplementary information rather than actualizing the experience with gameplay.

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RICKSAND, MARTIN. "Walton, Truth in Fiction, and Video Games: A Rejoinder to Willis." Journal of Aesthetics and Art Criticism 78, no. 1 (February 4, 2020): 101–5. http://dx.doi.org/10.1111/jaac.12707.

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Carroll, Noël. "Paradoxes of the Heart: The Philosophy of Horror Twenty-Five Years Later : An Interview by Caetlin Benson-Allott." Journal of Visual Culture 14, no. 3 (December 2015): 336–43. http://dx.doi.org/10.1177/1470412915607927.

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Since its publication 25 years ago – and despite controversy regarding some of its key claims – Noël Carroll’s The Philosophy of Horror: Or, Paradoxes of the Heart (1990) has led a renaissance in horror studies by paying close critical attention to the form and structure of scary movies. The Philosophy of Horror was one of the first academic monographs to attempt a theory of horror with its groundbreaking call for greater attention to negative affects in aesthetic experience. In this interview, Carroll reflects on horror studies since The Philosophy of Horror, historicizes some of his most controversial claims, and examines new developments in horror production, including horror film franchises and horror video games.

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Waddington, David I. "The Civic Potential of Video Games by Joseph Kahne, Ellen Middaugh and Chris Evans." Journal of Philosophy of Education 44, no. 4 (November 2010): 599–602. http://dx.doi.org/10.1111/j.1467-9752.2010.00773.x.

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Feenberg, Andrew. "Replies." Thesis Eleven 138, no. 1 (February 2017): 99–108. http://dx.doi.org/10.1177/0725513616689389.

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In these replies I address criticism of my work on the grounds that I adopt a ‘humanist’ approach, underestimate the aesthetic potential of contemporary video games, overlook the role of the nation-state in resisting technological imperialism, fail to appreciate the risks of reactionary appropriations of technology, and introduce an extrinsic and dubious aesthetic value into the philosophy of technology. In the course of responding to these criticisms, I reiterate several of the basic claims of critical theory of technology.

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Roy, Nandita. "Applying Kant’s Ethics to Video Game Business Models." Business and Professional Ethics Journal 40, no. 1 (2021): 109–27. http://dx.doi.org/10.5840/bpej202115106.

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This article expands on existing models of analyzing business ethics of monetization in video games using the concept of categorical imperatives, as posited by the philosopher Immanuel Kant. A model is advanced to analyze and evaluate the business logics of video game monetization using a Kantian framework, which falls in the deontological category of normative ethics. Using two categorical imperatives, existing models of game monetization are divided into ethical or unethical, and presented using the case example of Star Wars: Battlefront II (2017). This analysis aims to provide video game developers and businesses with ethical guidelines for game monetization which may also be profitable for them in the long term. Within the framework of video game monetization, a deontological analysis is relevant due to the fact that the game developer is engaged in a continuous role of making the game more playable/payable. This article applies Kantian business ethics to the context of a new sector, that of video game businesses, and thereby presents a broader ethical perspective to video game developers, which will help them monetize games in an ethical manner which is also profitable in the long run.

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Dorman, Steve M. "Video and Computer Games: Effect on Children and Implications for Health Education." Journal of School Health 67, no. 4 (April 1997): 133–38. http://dx.doi.org/10.1111/j.1746-1561.1997.tb03432.x.

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Harviainen, J. Tuomas, Janne Paavilainen, and Elina Koskinen. "Ayn Rand’s Objectivist Ethics Applied to Video Game Business." Journal of Business Ethics 167, no. 4 (April 16, 2019): 761–74. http://dx.doi.org/10.1007/s10551-019-04159-y.

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AbstractThis article analyzes the business ethics of digital games, using Ayn Rand’s philosophy of Objectivism. It identifies different types of monetization options as virtuous or nonvirtuous, based on Rand’s views on rational self-interest. It divides the options into ethical Mover and unethical Looter designs, presents those logics in relation to an illustrative case example, Zynga, and then discusses a view on the role of players in relation to game monetization designs. Through our analysis of monetization options in the context of Objectivist ethics, the article contributes to discussions on game revenue ethics. It also expands the still understudied area of applying Rand’s ethics to business, in the context of a new sector, game development, and business. This research enables ethicists to apply a wider-than-before perspective on virtue ethics to online business, and helps game developers act in a virtuous manner, which provides them with a long-term business advantage.

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Watts, Logan L., and Peter Barker. "Meeting Galileo: Testing the Effectiveness of an Immersive Video Game to Teach History and Philosophy of Science to Undergraduates." Transversal: International Journal for the Historiography of Science, no. 5 (December 9, 2018): 133. http://dx.doi.org/10.24117/2526-2270.2018.i5.10.

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Can video games teach students about the history and philosophy of science? This paper reports the results of a study investigating the effects of playing an educational video game on students’ knowledge of Galileo’s life and times, the nature of scientific evidence, and Aristotle’s and Galileo’s views of the cosmos. In the game, students were immersed in a computer simulation of 16th century Venice where they interacted with an avatar of Galileo and other characters. Over a period of two weeks, 71 undergraduates were exposed to lectures about Galileo and the Copernican revolution in a traditional classroom setting. However, only half of the students (i.e., experimental group) also played the game. The other half (i.e., control group) were only exposed to lectures. The knowledge of both groups was assessed at the beginning (i.e., pre-test) and end (i.e., post-test) of the two-week period. The results demonstrated objective improvements in knowledge for the experimental group while the control group showed virtually no change. Implications of these findings for teaching and learning the history and philosophy of science are discussed.

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Sier, André. "Non-human labyrinths: Roots and additional other than human formation methods." Technoetic Arts 17, no. 1 (June 1, 2019): 5–23. http://dx.doi.org/10.1386/tear_00002_1.

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Abstract Within the context of exploring new electronic arts' aesthetic regions and unexampled connections between generative art, games and mythology, my practical artistic research was led to focus on labyrinthine structures as exquisite legendary spatial gaming devices and as possible pathways to gain deeper humane insights, resulting into discoveries of original methods of labyrinth formation by means other than human. Labyrinths and mazes are inextricable paths, human made millennial structures that provide spatial challenges often connected with feedback, compression, entanglement and hyper complexification of goal oriented displacement. They are perhaps the most ancient example of structure for spatial and serious games. Novel methods for labyrinth creation ‐ non-human methods ‐ are introduced and exemplified through artistic constructs. These new methods utilize non-human bioelectronic techniques and are initially grouped into three distinct sub-categories: the 'open' method, the 'mathematical flower' method, the 'animal' method. Four case examples of artistic non-human labyrinths resorting to the introduced novel methods are explored: k. video games (2007, 2010), Wolfanddotcom video game (2017), 8-bit Maze Gardens vegetable paintings (2018‐present), Ant Ennae Labyrinths bio-electronic apparatus (2019‐present).

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Crabill, Joshua D. "Ten Things Video Games Can Teach Us (About Life, Philosophy, and Everything), by Jordan Erica Webber and Daniel Griliopoulos." Teaching Philosophy 40, no. 4 (2017): 486–90. http://dx.doi.org/10.5840/teachphil201740478.

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WILLIS, MARISSA D. "Choose Your Own Adventure: Examining the Fictional Content of Video Games as Interactive Fictions." Journal of Aesthetics and Art Criticism 77, no. 1 (February 12, 2019): 43–53. http://dx.doi.org/10.1111/jaac.12605.

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Maravic, Manojlo. "(Im)possibility of applying traditional philosophy, aesthetics, psychology, pedagogy and sociology of play to critical analysis of video games." Zbornik Akademije umetnosti, no. 2 (2014): 69–77. http://dx.doi.org/10.5937/zbakum1402069m.

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NAGY, Stephen Robert. "Japanese Martial Arts as Popular Culture: Teaching Opportunity and Challenge." Asian Studies 3, no. 1 (July 24, 2015): 83–102. http://dx.doi.org/10.4312/as.2015.3.1.83-102.

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Japanese martial arts, here after Japanese budō, are popular cultural icons that are found in films, comics, video games and books. Teaching Japanese budō at university offers a novel way to teach about East Asian and in particular Japanese culture, history, and philosophy while including ideas about the globalization and the localization of culture. Question though remains as to how and what should we teach about the popular culture of Japanese budō at the university level? This paper found that a comprehensive approach to teaching about budō was effective. By using many kinds of materials and the incorporation of opportunities to experience budō and to try budō, students were better able to grasp the historical, cultural and religious characteristics of budō.

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Yee, Thomas B. "Battle Hymn of the God-Slayers." Journal of Sound and Music in Games 1, no. 1 (January 1, 2020): 2–19. http://dx.doi.org/10.1525/jsmg.2020.1.1.2.

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“God is dead,” declared philosopher Friedrich Nietzsche, “… and we have killed him” (1887)—a proclamation that numerous video game protagonists could aptly say by journey's end. The prominent god-slayer trope in video game storylines casts the gameworld's god(s) as the final boss, to be slain by players, inviting connection to real-world religious ideas. Adequate scholarly attention has not been given to the musical features of the god-slayer trope—specifically, the bosses’ unique battle tracks—to discover what the music's meaning contributes to the trope. Quantitative analysis of video games featuring the god-slayer trope reveals that the bosses’ battle tracks may strategically combine rock and sacred music topics for significant semiotic effect. This article explores the meanings associated with rock and sacred music topics, using analytic methods from the burgeoning field of musical semiotics. By invoking music-theoretic work in topic theory (Monelle 2006, Hatten 2004), agential modalities (Tarasti 1994), and virtual agency (Hatten 2018), I argue that the rock and the sacred music topics initially appear to conflict—but the trope serves as a hermeneutic premise for a meaningful and productive synthesis uniquely fit for the narrative god-slayer trope. Xenoblade Chronicles (2010) forms a striking case study, with its tracks “Zanza” and “The God-Slaying Sword” exemplifying the sacred-rock trope and its semiotic meaning in relation to the game's plot—a narratively apt battle hymn for the game's god-slaying protagonists. Using a cultural-historical lens, the conclusion explores connections between the narrative god-slayer trope and the descent of Japan's god-emperor from divinity to humanity.

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Carter, J. "Doing Recent History: On Privacy, Copyright, Video Games, Institutional Review Boards, Activist Scholarship, and History That Talks Back." Journal of American History 99, no. 4 (February 15, 2013): 1327. http://dx.doi.org/10.1093/jahist/jas598.

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de Miranda, Luis. "Life Is Strange and “Games Are Made”: A Philosophical Interpretation of a Multiple-Choice Existential Simulator With Copilot Sartre." Games and Culture 13, no. 8 (November 23, 2016): 825–42. http://dx.doi.org/10.1177/1555412016678713.

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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 back in time to change their own existence—in order to stimulate philosophical, ethical, and political thinking and also to effectively simulate existential “limit situations.” This article is a dialogue between Sartre’s views and Life is Strange in order to examine to what extent questions such as what is freedom? what is choice? what is autonomy and responsibility? can be interpreted anew in hybrid digital–human—“anthrobotic”—environments.

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Macías, Cristóbal. "VIDEO GAMES AND THE ANCIENT WORLD - (C.) Rollinger (ed.) Classical Antiquity in Video Games. Playing with the Ancient World. Pp. xvi + 294, ills. London and New York: Bloomsbury Academic, 2020. Cased, £85, US$115. ISBN: 978-1-350-06663-2.1." Classical Review 70, no. 2 (July 30, 2020): 526–28. http://dx.doi.org/10.1017/s0009840x20001195.

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Steinfeld, Jemimah. "Game on: Trump has jumped on the ban video games bandwagon. The hysteria is increasing, and potentially unjustified." Index on Censorship 47, no. 2 (June 20, 2018): 106–8. http://dx.doi.org/10.1177/0306422018784441.

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Laskari, Iro. "Creating algorithmic audio-visual narratives through the use of augmented reality prints." Technoetic Arts 17, no. 1 (June 1, 2019): 25–31. http://dx.doi.org/10.1386/tear_00003_1.

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Abstract This article investigates the hypothesis of creating non-linear audio-visual narratives, through an unanticipated use of traditional print-based games, enriched with videos, via augmented reality (AR) possibilities. A ludic system has been created and presented. Based on a traditional card game, a non-linear cinematic narrative occurs. We attempt to examine the following questions: in which way can we bring together different forms of visual communication, such as graphic design and video? Can the above forms create a complex narrative whole and what kind of rules will be needed for this? How can we enrich traditional forms of gaming with the potentials of AR? Gaming itself demands a set of rules. Can these rules play the role of algorithms in the combined universe that we have designed and created? In which way can the designer on the one hand and the user on the other influence the overall output of the system? What will the user experience be like? The printed card system chosen for this is Tarot and more precisely the Great Arcana, which makes use of the 22 fundamental Tarot figures.

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Cutler, A. "J.C. Herz (edited by Michael Pietsch), Joystick Nation: How Video Games Ate Our Quarters, Stole Our Hearts, and Rewired Our Minds [Book Review]." IEEE Annals of the History of Computing 21, no. 3 (July 1999): 77–78. http://dx.doi.org/10.1109/mahc.1999.778993.

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Szabolcs, Zsuzsanna, Attila Szabo, and Ferenc Köteles. "ACUTE PSYCHOLOGICAL EFFECTS OF AIKIDO TRAINING." Baltic Journal of Sport and Health Sciences 1, no. 112 (2019): 42–49. http://dx.doi.org/10.33607/bjshs.v112i1.778.

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Background. Aikido is a philosophy and an Eastern martial-art which is conjectured to have many positive effects on mind and body. At this time there is limited, but growing research on this topic. The objective of the current work was to examine for the first time the hypothesis that aikido training, like many other western forms of organized physical activities, has acute psychological benefits as manifested via favourable changes in affect and the flow experience. Methods. Aikidokas (N = 53) took part in an in-situ investigation in which they completed the Positive Affect Negative Affect Schedule (PANAS) on at least three different occasions before and after their practice. They also completed a flow questionnaire at least on three occasions after their practice. Results. The results indicated that positive affect increased, and negative affect decreased (p < .001) from pre- to post-practice. Aikidokas reported flow experience that on the average was not greater than that reported for other exercises; however it was greater than that reported after video-sport games. The reported flow was independent of the magnitude of change in positive and/or negative affect. The more experienced aikidokas experienced greater skill-challenge harmony, but not oneness with the experience, which are two constructs in flow, than less experienced practitioners. Conclusion. These findings reveal relatively clearly for the very first time in the literature that aikido practice has acute, or immediate, psychological benefits akin to other martial arts and exercises.

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Prot, Sara, Katelyn A. McDonald, Craig A. Anderson, and Douglas A. Gentile. "Video Games:." Pediatric Clinics of North America 59, no. 3 (June 2012): 647–58. http://dx.doi.org/10.1016/j.pcl.2012.03.016.

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Flaherty, N. "Video games." Electronics Systems and Software 3, no. 5 (October 1, 2005): 12–15. http://dx.doi.org/10.1049/ess:20050501.

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&NA;. "Video Games." Journal of Developmental & Behavioral Pediatrics 13, no. 1 (February 1992): 53???54. http://dx.doi.org/10.1097/00004703-199202000-00011.

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Schueren, Betty. "Video Games." Activities, Adaptation & Aging 8, no. 1 (February 3, 1986): 49–58. http://dx.doi.org/10.1300/j016v08n01_07.

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FUNK, J. "Video Games." Adolescent Medicine Clinics 16, no. 2 (June 2005): 395–411. http://dx.doi.org/10.1016/j.admecli.2005.02.007.

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Primack, Brian A. "Video Games." American Journal of Preventive Medicine 37, no. 4 (October 2009): 379–80. http://dx.doi.org/10.1016/j.amepre.2009.07.001.

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Journal articles on the topic 'Philosophy of video games'

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