Un joueur de jeux vidéo sur deux est une joueuse. À l’écran cependant, la présence des femmes et leur représentation ne vont pas de soi. L’entretien analyse le dernier opus d’Assassin’s Creed, une saga dont chaque titre se déroule dans un contexte historique précis. Le premier jeu de la série (2007) imposait d’incarner un avatar masculin ; le huitième permettait d’incarner un personnage féminin, mais doté de caractéristiques autres que son homologue masculin ; le quatorzième proposait d’incarner un (...) ou une hoplite, tous deux égaux dans le combat. Mais sur le plan du genre, le dernier titre en date, Valhalla (2020), va plus loin. Le joueur, en ouverture, incarne Eivor, un enfant dont le sexe est indéterminé. À l’âge adulte, il doit choisir : jouer Eivor au féminin, au masculin, ou laisser le système décider. Le genre ainsi n’est pas subi mais choisi, et est modifiable en cours de partie. S’agit-il vraiment d’une révolution? Les frontières du genre ne sont-elles pas simplement repoussées? Et comment, si c’est le cas, pourrait-on les dépasser enfin? (shrink)

A partir de la revisión de bibliografía especializada y del análisis crítico-constructivo del trabajo de Dow (2013) que examina los anacronismos existentes en la recreación digital de la ciudad de Florencia en el videojuego Assassin’s Creed II (2009), el presente trabajo explora la capacidad que tienen este tipo de videojuegos para reconstruir la ambientación de un período histórico concreto a partir del uso de anacronismos derivados de licencias creativas y de las necesidades artísticas propias del videojuego. Los resultados (...) demuestran que el anacronismo es una herramienta que los desarrolladores de videojuegos históricos utilizan de forma intencionada para transmitir una imagen del pasado que resulte vigente y atractiva en la actualidad. Igualmente se evidencia la necesidad de una metodología propia dentro de los denominados Game Studies que aborde el videojuego como objeto de estudio artístico lejos del enfoque de líneas de investigación como los Historical Game Studies y otras disciplinas humanísticas. (shrink)

En los últimos años se está intensificando la demanda de propuestas educativas que fomenten la adquisición de competencias. Teniendo en cuenta esta demanda, el uso habitual de videojuegos por parte de la juventud y la necesidad de un modelo que permita trabajar los contenidos de ciencias sociales que marca el curriculum escolar, se ha diseñado la siguiente propuesta didáctica. Esta combina el uso del videojuego Assassin's Creed: Origins con una metodología de aula invertida para el estudio del Antiguo Egipto (...) en el primer curso de Educación Secundaria Obligatoria. El resultado, además de constatar que Assassin's Creed: Origins es una herramienta válida para el aprendizaje de la historia del Antiguo Egipto, ha permitido motivar al alumnado, convirtiéndole en protagonista de su propio aprendizaje. (shrink)

Muchos investigadores han atribuido a los videojuegos un enorme potencial al uso de éstos en procesos de enseñanza-aprendizaje. Este artículo pretende analizar mediante la experimentación del videojuego «Assassin’s Creed Origins», si es apto para su uso como recurso didáctico en la enseñanza, incluyendo aspectos procedimentales y actitudinales relacionados con las Ciencias Sociales; y más concretamente para la enseñanza y aprendizaje de los diferentes campos o apartados sociales, tales como la economía, la sociedad, la gestión, división o reconocimiento del (...) territorio egipcio. A modo de resumen, nos plantearemos si el videojuego es capaz de transmitir o se reconocen en él, elementos fundamentales de la cultura del antiguo Egipto y en especial de su patrimonio, cuyo legado ha llegado hasta nuestros días. (shrink)

In part through correcting mistranslations of key passages in the "de logica" part of his "de corpore," hobbes is shown to have held a theory in which the intention to communicate enters into the definition of signification; and in which speech requires, In addition, (1) socially agreed-Upon correlations between kinds of utterances and kinds of things, And (2) an interrelationship of such utterances (or 'words') in what hobbes calls 'contexture'. It is shown that hobbes did not hold that for a (...) linguistic expression to have meaning is for it to stand for something, Or that what an expression means is what it stands for--Positions commonly, And mistakenly, Attributed to him. (shrink)

Thucydides describes Antipho as ‘inferior to no one of his time in and more capable than any of initiating ideas and giving expression to them’. What does he mean here by? Does it refer to ability? or does it refer to courage and consistency of principle? and in either case how are we to relate this description of Antipho to Thucydides description of Nicias as less worthy than any other Greek of the historian's day to meet with the misfortunes that (...) he did? (shrink)

Thucydides describes Antipho as ‘inferior to no one of his time in and more capable than any of initiating ideas and giving expression to them’. What does he mean here by? Does it refer to ability? or does it refer to courage and consistency of principle? and in either case how are we to relate this description of Antipho to Thucydides description of Nicias as less worthy than any other Greek of the historian's day to meet with the misfortunes that (...) he did? (shrink)

Such is John Stuart Mill's succinct exposition of the core of utilitarian theory. A contemporary philosopher has aptly described utilitarianism as ‘the combination of two principles: the consequentialist principle that the rightness, or wrongness, of an action is determined by the goodness, or badness, of the results that flow from it and the hedonist principle that the only thing that is good in itself is pleasure and the only thing bad in itself is pain. Although the consequentialistprinciple has attracted the (...) most attention in modern discussions of utilitarianism, it is the second principle which invites immediate comparison with the views of Plato. I propose therefore to start by comparing the Platonic and the utilitarian conceptions of the good in the hope that this will enable us to see too in what sense Plato's position is consequentialist, and whether his ethical and political theories in general can properly be described as utilitarian. (shrink)

Such is John Stuart Mill's succinct exposition of the core of utilitarian theory. A contemporary philosopher has aptly described utilitarianism as ‘the combination of two principles: (1)the consequentialist principlethat the rightness, or wrongness, of an action is determined by the goodness, or badness, of the results that flow from it and (2)the hedonist principlethat the only thing that is good in itself is pleasure and the only thing bad in itself is pain. Although the consequentialistprinciple has attracted the most attention (...) in modern discussions of utilitarianism, it is the second principle which invites immediate comparison with the views of Plato. I propose therefore to start by comparing the Platonic and the utilitarian conceptions of the good in the hope that this will enable us to see too in what sense Plato's position is consequentialist, and whether his ethical and political theories in general can properly be described as utilitarian. (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

Kant's Critique of Judgement analyses our experience of the beautiful and the sublime in relation to nature, morality, and theology. Meredith's classic translation is here lightly revised and supplemented with a bilingual glossary. The edition also includes the important First Introduction.

Excerpt from Kant's Critique of Aesthetic Judgement: Translated, With Seven Introductory Essays, Notes, and Analytical Index It seems a strange fact that the works which have exerted the greatest and most permanent influence are those of which it is most difficult to give a final and conclusive interpretation. Is it that the philosophic mind merely amuses itself looking for the answers to riddles the solution of which destroys the interest, so that it is not so much misinterpretation as explanation that (...) great philosophers have to fear? Or is it that philosophers propose questions which depend upon higher categories than those of common understanding, with the natural result that their point of view is but imperfectly comprehended by lesser minds? Or is it simply that the works that have exerted most influence are those which arc most comprehensive and many-sided, and that different critics seize upon different aspects of the whole, and throw the emphasis on different points? It is not necessary to attempt to answer these questions generally, or further than affects Kant's Aesthetics. Certainly no work has exerted an equal influence on the subsequent history of aesthetics, and yet it has been most variously interpreted. However, while critics differ as to Kant's meaning on many essential points, they seem to be mostly agreed that the chief source of strength in the work lies in its comprehensiveness and its method. How they have been able to arrive at this conclusion in the face of their own criticisms, is a different matter. For they have for the most part attempted to show that the work as a whole involves an important modification of Kant's fundamental position of critical idealism, and that in its different parts it betrays considerable hesitation and vacillation of opinion on vital questions, and, moreover, frequently falls into flagrant inconsistency. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. (shrink)

Deep brain stimulation of the subthalamic nucleus is an effective treatment for the motor symptoms of movement disorders including Parkinson's Disease. Despite its therapeutic benefits, STN-DBS has been associated with adverse effects on mood and cognition. Specifically, apathy, which is defined as a loss of motivation, has been reported to emerge or to worsen following STN-DBS. However, it is often challenging to disentangle the effects of STN-DBSper sefrom concurrent reduction of dopamine replacement therapy, from underlying PD pathology or from disease (...) progression. To this end, pre-clinical models allow for the dissociation of each of these factors, and to establish neural substrates underlying the emergence of motivational symptoms following STN-DBS. Here, we performed a systematic analysis of rodent studies assessing the effects of STN-DBS on reward seeking, reward motivation and reward consumption across a variety of behavioral paradigms. We find that STN-DBS decreases reward seeking in the majority of experiments, and we outline how design of the behavioral task and DBS parameters can influence experimental outcomes. While an early hypothesis posited that DBS acts as a “functional lesion,” an analysis of lesions and inhibition of the STN revealed no consistent pattern on reward-related behavior. Thus, we discuss alternative mechanisms that could contribute to the amotivational effects of STN-DBS. We also argue that optogenetic-assisted circuit dissection could yield important insight into the effects of the STN on motivated behavior in health and disease. Understanding the mechanisms underlying the effects of STN-DBS on motivated behavior-will be critical for optimizing the clinical application of STN-DBS. (shrink)

Ordo V comprises works on religious instruction. This first volume of Ordo V in the Amsterdam edition of the Latin texts of Erasmus offers one of Erasmus’ earliest writings De contemptu mundi and other theological works, including the Explanation on the Apostles’ Creed , a book on prayer and a work on the Christian’s preparation on death.

In lieu of an abstract, here is a brief excerpt of the content:Missing the Cross?Types of the Passion in Early Christian ArtS. Mark Heim (bio)René Girard has frequently contended that the core of his best known theories is already contained in the Bible, that in the end he is "only a kind of exegete" (Girard and Treguer 1994, 196). To those who object that the Bible had to wait two thousand years to be read as he reads it, he protests (...) that this is a gross exaggeration: "three quarters of what I say can be found in Saint Augustine" (196). In the introduction to I See Satan Fall like Lightning, Girard puts it like this:The Passion accounts reveal a phenomenon that unbeknownst to us generates all human cultures and still warps our human vision in favor of all sorts of exclusions and scapegoating. If this analysis is true, the explanatory power of Jesus's death is much greater than we realize, and Paul's exalted idea of the cross as the source of all knowledge is anthropologically sound.(2001, 3)In other words, Girard's insight comes only in the train of revelation. The revelation in the biblical sources was not perfectly grasped in the religious traditions that flowed from them, and was frequently betrayed through the construction of sacrificial theologies. But Girard insists that its power was in significant measure perceived and effective from the beginning. His view of the meaning of the passion cannot be correct if he is the first one to see it. So it is no minor matter to ask whether in fact early Christians saw the connection of the cross with scapegoating that is so central for Girard.One point that appears to tell against Girard's case is the absence of images of the cross and crucifixion in the first four Christian centuries. A brutal realism about this specific event is the keystone of Girard's understanding of the passion narratives. The fact that the sight is literally hidden from view throughout this formative Christian period hardly appears consistent with his claims.There is a notable early Christian work of art, the so-called Brescia Casket (see fig. 1), that sheds some important light on the general question of the [End Page 183] representation of the passion and, even more dramatically, upon its interpretation in Girardian terms. The casket indicates that the widespread use of Old Testament types as representations of Christ, and specifically as representations of his passion, may partly explain the absence of literal depiction of the crucifixion. And the particular types involved fit extremely well with Girard's outlook. This essay draws out the connection—so far unremarked—between this significant work of early Christian art and Girard's reading of the passion. Click for larger view View full resolutionFigure 1.Brescia Casket. Ivory, late fourth century.Christ's passion and death were described in stark terms in the gospels and recounted explicitly from the beginning in the church's liturgy, teaching, and preaching. On this plane, there is no question of the centrality of the cross. Yet no literal depictions of the crucifixion survive in art from the first four Christian centuries. There is no entirely satisfactory explanation of why the cross would figure so centrally in Christian faith and worship, but be visually absent. Representations of Jesus in early Christian art most often display a healer, wonderworker, or teacher. In fact, the early centuries offer an odd inversion in creed and art. Early creeds focus on Jesus's beginnings and endings, "skipping right from 'born of the Virgin Mary' to 'suffered under Pontius Pilate,' with no mention of Jesus's life and work, while the art appears to take an opposite tack" (Jensen 2000, 131–32). Perhaps the frequent Christian use [End Page 184] of images of anchors and ship's masts, or of the chi-rho sign, served as their image of the cross. Perhaps the reality the scriptures described was too gruesome to easily picture, too readily ridiculed by outsiders, or too awesome and mysterious to present directly. Perhaps, in a persecuted and at times martyred church, such a sign would be realistically terrifying to many and dangerously seductive to some.That the... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:VIOLENCE AND NONVIOLENCE IN HINDU RELIGIOUS TRADITIONS Francis X. Clooney, SJ. Boston College Outline I.Violence, Sacrifice and Ritual 1. Some basic attitudes toward the killing of animals 2.Resolving the problem of sacrificial violence by internalization 3.Substitutions 4.Renunciation and nonviolence: an elite pathway 5.Violence andnonviolenceinrelation to vegetarianism: Hans Schmidt's theses?. Traditional Hindu Theorizations of Violence in Mimamsa Ritual Theory and Vedanta Theology 1. The ritual analysis (at Mimamsa Sutra 1.1.2) (...) of the Shyena rite which is performed in order to harm enemies 2.The Vedanta analysis (at Uttara Mimamsa Sutra 3.1.25) of ritual violence in relation to the prohibition of violence??. Violence in the Life of the State HOFrancis X. Clooney, S.J. 1. The royal power to punish (danda) 2.The synthesis of the ideals of brahmin and king a..The distribution and management of violence in the Laws ofManu (1st century CE) b. Policy toward warfare in the Arthashastra of Kautilya 3.The collapse of the brahmanical synthesis—and the emergence of a (seemingly) more nonviolent Hinduism 4.A comment on Gandhi (1 869-1948) and the contemporary emergence of post-Gandhian Hindu perspectives IV.Alternate Views from Outside the Sanskritic Tradition 1. Tamil Wisdom on Violence and Nonviolence: a.Tirukkural (c. 2nd century CE) b.Cilappatikaram (5th century CE) 2.Blood and Goddesses 3.From a Village Perspective a. Some Trouble with Cows b.Mahasweta Devi and the Literary Exposure of Violence V.The Question of a Christian Perspective on the Hindu Treatment of Violence and Religion: Are Victims Necessary? Some Presuppositions: • The following reflections, complex as they are, are governed by a reluctance to simplify Hindu teaching. I seek to avoid the view that the Hindu traditions had only one view of violence and nonviolence. • I use the term "Hindu" loosely and as a shorthand, without claiming that there is a single Hindu tradition, or a single creed shared by all Hindus, or a single attitude toward violence. But neither do I claim that there are simply many traditions without any common elements which justify the appellation "Hindu." • I am reluctant to idealize the Hindu traditions as if nonviolence must necessarily be taken as the epitome ofHindu thought. India's traditions are complex, and require complex treatment. • A serious artificiality of this paper is that I treat Hinduism without simultaneously lookinginto Buddhist andJain materials, though both were traditions with important and enduring commitments to nonviolence. Particularly with respect to the renunciant, marginal components of traditions, one ought not to make overly neat or decisive distinctions Violence and Nonviolence in Hindu Religious Traditions 1 1 1 between the Hindu, Buddhist, and Jain theories and practices related to violence and nonviolence. • I attempt to give preference to indigenous discussions ofissues related to violence and nonviolence; the context and mode of thinking are important, notjust the conclusions drawn. I therefore avoid simply mining Hindu texts for an answer to a contemporary question, "What is the Hindu attitude toward violence and nonviolence?" • In most ofwhat follows we must distinguish contexts where "violence" indicates "physical action which causes pain to some living being," from contexts where "violence" indicates "an intention, rooted in anger or malice, to hurt someone." I use the word "violence" for both in order to highlight the complex issues of distinction involved. In considering the Sanskrit formulations, one likewise has to distinguish himsa as "causing pain" from himsa as "intending to harm." • It is often difficult to date ancient texts, and even when one narrows down a date—within 200-300 years—its significance still depends on other, often equally broadly stated dates. Nevertheless, I do offer dates throughout, as summarized here: •ancient Vedic sacrificial practices, from before 1200 BCE •Vedic ritual analyses and reformulations of sacrifices as ritualized acts, in the Brahmanas, from after 1000 BCE •the Upanishadic exploration of the deeper meanings of ritual and interiorized alternatives to ritual, from after 900 BCE •the Buddha, c. 500 BCE •key texts in the theorization of royal power, The Laws of Manu (beginning of Common Era) and Arthashastra (c. 150 CE) •the Tamil wisdom text Tirukkural (100 CE) •Goddess texts as evidenced in Sanskrit formulations, from after 500 CE... (shrink)

In 1983, we were declared a nation at risk. Now, over a decade later the declaration seems to ring even more true, but for different reasons. Our communities have become killing fields, and the assassins that stalk our streets are our children. We sit frozen in horror as the daily news bombards us with the images of children murdering other children and adults for the thrill of it, as a rite of initiation, as an act of racial hatred, for profit, (...) and in anger and retaliation. (shrink)

Originally published in 1951, this book provides a thorough explanation of the essential elements of Islam: Muhammad and the Quran, Faith, Prayer, Alms, Fasting, Pilgrimage, Holy War, Hadith, and Sunna, Creed, Prophets, Philosophy, Law, Sects, Mysticism, Social Life and Modern Movements.

Pro-anorexia is an Internet-based movement that provides advice and support for the development/maintenance of an eating disorder. The movement is sometimes framed as a religion, with rituals, psalms, creeds and the invocation of a deity who personifies the ED. The latter aspect is likely to influence identities and behaviours as well as providing emotional support and motivation for community members. However, there is little sustained empirical analysis of how members themselves orient to and self-position within the religious discourse. Here, we (...) apply the concept of interdiscursivity to examine the construction of Ana as god. Drawing on a body of online interactions from one pro-ana website over a 47-day period, we discursively analyse members’ constructions of Ana and their relationship with her. With reference to biblical texts, we consider how these constructions directly reference concepts of Christian religion and faith. Implications for understanding pro-ana and interdiscursivity are discussed. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:"A City of Brick":Visual Rhetoric in Roman Rhetorical Theory and PracticeKathleen S. LampPerhaps none of the words Augustus, the first sole ruler of Rome who reigned from 27 BCE to 14 CE, actually said are quite as memorable as the ones Cassius Dio has attributed to him: "I found Rome built of clay and I leave it to you in marble" (1987, 56.30).1 Suetonius too discusses Augustus's building program, (...) offering an alleged quote along with an explanation of his motivation: "Since the city was not adorned as the dignity of the empire demanded, and was exposed to flood and fire, he so beautified it that he could justly boast that he had found it built of brick and left it in marble" (1998, Aug.28.3). Though Suetonius's explanation is practical, Dio argues Augustus's "city of brick" had a more metaphoric or symbolic meaning: "In saying this he was not referring literally to the state of the buildings, but rather to the strength of the empire" (1987, 56.30).Both historians, then, perceive a connection between the physical appearance of the city and Rome's place at the head of the (Roman) world. Maecenas, Augustus's right-hand man who was essentially the minister of culture, explicitly draws attention to this strategy in a speech fabricated by Dio. Maecenas advises Augustus, "Make this capital beautiful, spare no expense in doing so, and enhance its magnificence with festivals of every kind. It is right for us who rule over so many peoples to excel all others in every field of endeavor, and even display of this kind tends to implant [End Page 171] respect for us in our allies and to strike terror into our enemies" (1987, 52.30). Here Dio suggests, albeit in hindsight, that Augustus's building program was a conscious "display" of Rome's supremacy meant to elicit a reaction, particularly from those who dwelled outside the city.Though from this passage of Dio's it is possible to argue that the physical appearance of the city of Rome was meant to persuade, or at least elicit some response, the passage does not provide support for the claim that architecture, monuments, and city planning functioned rhetorically in ancient Rome. After all, Quintilian reminds us that "many other things have the power of persuasion" (1970, 2.15.6-9). Nonetheless, this passage does generate questions about the relationship between the Augustan building program, or more broadly the Augustan cultural campaigns, and rhetoric in the principate—specifically about the way in which the cultural campaigns functioned rhetorically to help Augustus gain and maintain power.Recently, I have argued that the Ara pacis Augustae, an Augustan monument commissioned in 13 BCE, functioned as a visual example of a rhetorical text, meant not only to celebrate Augustus's successful campaigns is Spain and Gaul but also to garner public support for Augustus's heir and the process of dynastic succession. Because specific rhetorical techniques often associated with the epideictic genre clearly function on the altar, the Ara pacis demonstrates that Augustus and/or his ministers were thinking rhetorically when constructing at least some Augustan monuments (Lamp 2009). Similarly, architectural historian Diana Favro has argued that certain aspects of Augustan architecture made use of rhetorical techniques related to the canon of memory (1996). These findings are perhaps not surprising given that George Kennedy, writing nearly forty years ago, acknowledged that Augustus, a figure he called "the greatest rhetorician of antiquity, " "developed new techniques of verbal and visual persuasion which took over some of the functions and adapted some of the methods of traditional oratory" (1972, 378, 382).Still, very little attention has been paid to Augustus as a rhetorical figure, which is not to say that scholars of rhetoric have paid no attention to Roman rhetoric. While the classicist Theodore Mommsen, writing in the latter half of the nineteenth century, went as far as to refer to the principate as the "end to the entire discipline of rhetoric" (1992, 125), the decline narrative in regards to Roman rhetoric is shifting. Traditionally, this decline narrative suggested that following the assassination of Cicero, traditional oratory retreated into... (shrink)

John Polkinghorne is a significant contributor to the religion and science dialogue, bringing the expertise of a scientist coupled with serious theological study, ordination, and service as a parish priest. He takes both theology and science with utmost seriousness and describes himself as a bottom‐up thinker, confronting the scriptural record as a scientist does data. But he refrains from giving scientific explanations of scripture. Polkinghorne's concern is with hope, and specifically with eschatological hope. The framework for his theological thinking is (...) the Nicene Creed, in which is found the counterintuitive openness common to theoretical physics. He acknowledges the need for thinking beyond the confines of present scientific understanding in proposing active information as a concept for considering the mind. (shrink)

The classical Christian creeds generally address historical and metaphysical issues, such as the Trinity and the work of Christ. These doctrines are commonly construed as definitive of Christian orthodoxy or right belief. But are there behavioral standards that are essential to Christian living? If so, are beliefs about such matters as crucial to the faith as the creedal points? I introduce the concept of “moral heresy” as an ethical-doxastic category, which may be useful as a conceptual tool in addressing these (...) questions. There are potentially serious implications here for how Christians should approach some critical issues of our time, particularly regarding sexual ethics. (shrink)

Excerpt from Hegel's Doctrine of Formal Logic: Being a Translation of the First, Section of the Subjective Logic It has been my great good fortune to have freely at my disposal during the preparation of this work the wide knowledge and wise judgement of my friend Dr. James Creed Meredith. I am indeed deeply in his debt for his valuable assistance, ever ready to my call but I can console myself by reflecting that the reader is still more indebted (...) to me for the unstinted use I have made of it. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. (shrink)

This article discusses the relation between software and human experience. I argue that software-based experiences are based on a radical discrepancy between the code and “lived experience.” This break is different than the so-called “opacity” of technology. I start analyzing a case study: the video game Assassin’s Creed Odyssey. Video games are one of the most profound digital experiences humans can have. When I play a video game I do not see the code. However, the code is the (...) source of my experience. I claim that the code’s concealment is the necessary condition of the digital experience. I discuss the ontological definition of software as an entity. Software, I claim, is a complex object, composed of many different levels, whose unity is problematic. In the last part of the essay I argue that the break between lived experience and code is recomposed by imagination through the act of design. (shrink)

If he were alive today, what might Heidegger say about _Halo, _the popular video game franchise? What would Augustine think about _Assassin’s Creed _? What could Maimonides teach us about Nintendo’s eponymous hero, Mario? While some critics might dismiss such inquiries outright, protesting that these great thinkers would never concern themselves with a medium so crude and mindless as video games, it is impor­tant to recognize that games like these are, in fact, becoming the defining medium of our time. (...) We spend more time and money on video games than on books, television, or film, and any serious thinker of our age should be concerned with these games, what they are saying about us, and what we are learning from them. Yet video games still remain relatively unexplored by both scholars and pundits alike. Few have advanced beyond out­moded and futile attempts to tie gameplay to violent behavior. With this canard now thoroughly and repeatedly disproven, it is time to delve deeper. Just as the Museum of Modern Art in Manhattan recently acquired fourteen games as part of its permanent collection, so too must we seek to add a serious consideration of virtual worlds to the pantheon of philoso-phical inquiry. In _God in the Machine, _author Liel Leibovitz leads a fas­cinating tour of the emerging virtual landscape and its many dazzling vistas from which we are offered new vantage points on age-old theological and philosophical questions. Free will vs. determinism, the importance of ritual, transcendence through mastery, notions of the self, justice and sin, life, death, and resurrection—these all come into play in the video games that some critics so easily write off as mind-numbing wastes of time. When one looks closely at how these games are designed, at their inherent logic, and at the cognitive effects they have on players, it becomes clear that playing these games creates a state of awareness vastly different from that which occurs when we watch television or read a book. Indeed, gameplay is a far more engaged process—one that draws on various faculties of mind and body to evoke sensa­tions that might more commonly be associated with religious experience. Getting swept away in an engrossing game can be a profoundly spiritual activity. It is not _to think_, but rather simply _to be_, a logic that sustained our ancestors for millennia as they looked heavenward for answers. Today, as more and more of us look screenward, it is important to investigate these games for their vast potential as fine instruments of moral training. Anyone seeking a concise and well-reasoned introduction to the subject would do well to start with _God in the Machine_. By illuminating both where video game storytelling is now and where it currently butts up against certain inherent limitations, Liebovitz intriguingly implies how the field and, in turn, our experiences might continue to evolve and advance in the coming years. (shrink)

If he were alive today, what might Heidegger say about _Halo, _the popular video game franchise? What would Augustine think about _Assassin’s Creed _? What could Maimonides teach us about Nintendo’s eponymous hero, Mario? While some critics might dismiss such inquiries outright, protesting that these great thinkers would never concern themselves with a medium so crude and mindless as video games, it is impor­tant to recognize that games like these are, in fact, becoming the defining medium of our time. (...) We spend more time and money on video games than on books, television, or film, and any serious thinker of our age should be concerned with these games, what they are saying about us, and what we are learning from them. Yet video games still remain relatively unexplored by both scholars and pundits alike. Few have advanced beyond out­moded and futile attempts to tie gameplay to violent behavior. With this canard now thoroughly and repeatedly disproven, it is time to delve deeper. Just as the Museum of Modern Art in Manhattan recently acquired fourteen games as part of its permanent collection, so too must we seek to add a serious consideration of virtual worlds to the pantheon of philoso-phical inquiry. In _God in the Machine, _author Liel Leibovitz leads a fas­cinating tour of the emerging virtual landscape and its many dazzling vistas from which we are offered new vantage points on age-old theological and philosophical questions. Free will vs. determinism, the importance of ritual, transcendence through mastery, notions of the self, justice and sin, life, death, and resurrection—these all come into play in the video games that some critics so easily write off as mind-numbing wastes of time. When one looks closely at how these games are designed, at their inherent logic, and at the cognitive effects they have on players, it becomes clear that playing these games creates a state of awareness vastly different from that which occurs when we watch television or read a book. Indeed, gameplay is a far more engaged process—one that draws on various faculties of mind and body to evoke sensa­tions that might more commonly be associated with religious experience. Getting swept away in an engrossing game can be a profoundly spiritual activity. It is not _to think_, but rather simply _to be_, a logic that sustained our ancestors for millennia as they looked heavenward for answers. Today, as more and more of us look screenward, it is important to investigate these games for their vast potential as fine instruments of moral training. Anyone seeking a concise and well-reasoned introduction to the subject would do well to start with _God in the Machine_. By illuminating both where video game storytelling is now and where it currently butts up against certain inherent limitations, Liebovitz intriguingly implies how the field and, in turn, our experiences might continue to evolve and advance in the coming years. (shrink)

"Consists basically of medical prayers, oaths, pledges, ethical aphorisms and codes, and covenants of physicians throughout the ages, in various civilizations."--Intro. Published 1973.