In The Grasshopper: Games, Life, and Utopia, Suits maintains the following two theses: game-playing is defined as ‘activity directed towards bringing about a specific state of affairs, using only means permitted by rules, where the rules prohibit more efficient in favour of less efficient means, and where such rules are accepted just because they make possible such activity’ and ‘game playing is what makes Utopia intelligible.’ Observing that these two theses cannot be jointly maintained absent paradox, this essay explores the (...) logical possibility that if is true, then must be false. More specifically, in the tradition of conceptual analysis it is argued that Suits’ definition of game-playing is too narrow inasmuch as it excludes really magnificent Utopian games of significance. (shrink)

The oil-rich nation-states of the Arabian Peninsula are investing large sums in the development of an international sports industry for the region. In an effort to field its own national sports tea...

Philosophy has a schizophrenic relationship with games. On the one hand, philosophers love using games as model, arguing that phenomena as diverse as linguistic meaning, meta‐ethics, normative ethics, applied ethics, law, and aesthetics can be illuminated via an analogy with games. On the other hand, there is scant focused discussion of the concept of a game as such. This is problematic; the appeal to games as a model to clarify philosophically puzzling questions has limited utility if games themselves (and the (...) concept of a game) are poorly understood. Moreover, playing games plausibly is an important element in a good life; anyone interested in the theory of welfare, a traditional philosophical topic, should be interested in games. We play games, but if anything, play itself has been more neglected by philosophers than games. This neglect is unwarranted. Historically, philosophy has investigated foundational questions about human nature, and a disposition to play plausibly is a deep part of human nature. Moreover, play is an important concept in evolutionary biology and psychology, yet those working in those fields struggle to define the concept to their own satisfaction. E.O. Wilson went so far as to remark that “no behavioural concept has proved more ill‐defined, elusive, controversial, and even unfashionable than play.” One might have hoped philosophers could help here. In this paper, I provide an opinionated introduction to the philosophy of play and games. (shrink)

There seems to be a deep tension between two aspects of aesthetic appreciation. On the one hand, we care about getting things right. On the other hand, we demand autonomy. We want appreciators to arrive at their aesthetic judgments through their own cognitive efforts, rather than deferring to experts. These two demands seem to be in tension; after all, if we want to get the right judgments, we should defer to the judgments of experts. The best explanation, I suggest, is (...) that aesthetic appreciation is something like a game. When we play a game, we try to win. But often, winning isn’t the point; playing is. Aesthetic appreciation involves the same flipped motivational structure: we aim at the goal of correctness, but having correct judgments isn’t the point. The point is the engaged process of interpreting, investigating, and exploring the aesthetic object. Deferring to aesthetic testimony, then, makes the same mistake as looking up the answer to a puzzle, rather than solving it for oneself. The shortcut defeats the whole point. This suggests a new account of aesthetic value: the engagement account. The primary value of the activity of aesthetic appreciation lies in the process of trying to generate correct judgments, and not in having correct judgments. -/- *There is an audio version available: look for the Soundcloud link, below.*. (shrink)

Given Bernard Suits’ stature in the philosophy of sport, his take on strategic fouling, surprisingly, hasn’t been given much attention in the literature. Rather than relying on a purely empirical or ‘ethos’ approach to justify the Strategic Foul he provides a mixed justification. Suits’ account combines a priori and a posteriori elements. He introduces a third kind of rule, which appears to be unlike rules of skill or constitutive rules, into his conceptual scheme. Suits claims that it is sometimes tactically (...) correct to break such a rule in order to gain an advantage. I will argue that the a priori element in his justification of strategic fouling is unconvincing because there is nothing special about ‘third type’ rule-violations, which incur a ‘fixed penalty’. Furthermore, the a posteriori element ultimately reduces to a rule of skill, and it is doubtful whether it has sufficient normative force to warrant breaking a rule. But, most importantly, the a posteriori element degrades the power of the a priori element. (shrink)

This paper starts by addressing some objections to the very idea of aggregate social good. The paper goes on to review the case for letting aggregate social good be not only morally relevant but also sometimes morally decisive. Then the paper surveys objections to letting aggregate social good determine personal or political decisions. The paper goes on to argue against the idea that aggregate good is sensitive to desert and the idea that aggregate good should be construed as incorporating agent-relativity.

This paper starts by addressing some objections to the very idea of aggregate social good. The paper goes on to review the case for letting aggregate social good be not only morally relevant but also sometimes morally decisive. Then the paper surveys objections to letting aggregate social good determine personal or political decisions. The paper goes on to argue against the idea that aggregate good is sensitive to desert and the idea that aggregate good should be construed as incorporating agent-relativity.

An increasingly popular view in the philosophy of art is that some artworks are good artworks at least partly because they are achievements. This view was introduced to explain why two works that look the same, such as an original painting and a perfect copy, can differ in artistic merit. An achievement theory can say that the original is better because it is a greater achievement. Achievement theories have since been used to answer other questions, and they are now a (...) serious alternative to traditional theories of artistic merit. This paper has three aims. The first is to articulate the achievement theory more fully and explicitly than its advocates have. The second is to show that the achievement theory should be rejected, by raising five problems for it. The third is to show that appealing solely to the excellence, aptitude, and ineptitude a work manifests yields a better theory of artistic merit. (shrink)

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 both as paradigmatically unnecessary (...) activities and by offering opportunities for relatively unconstrained choice inside the ‘lusory’ world that players inhabit. (shrink)

Thomas Hurka writes, “an anti-theoretical position is properly open only to those who have made a serious effort to theorize a given domain and found that it cannot succeed. Anti-theorists who do not make this effort are simply being lazy, like Wittgenstein himself. His central example of a concept that cannot be given a unifying analysis was that of a game, but in one of the great underappreciated books of the twentieth century Bernard Suits gives perfectly persuasive necessary and sufficient (...) conditions for something's being a game.” In this paper, I show that the conditions that Suits proposes for something's being a game are neither necessary nor sufficient. They fail both ways. (shrink)