This paper argues that digital games are best understood as a type of image-consciousness (Bildbewusstein). First, I argue how our experiences of digital games are not perceptions. Second, I provide a summary of the phenomenological natures of three basic modes of consciousness in Hus-serl, Fink and Sartre—perception, phantasy and image-consciousness—in order to demonstrate that the latter ultimately finds its place between the other two. Lastly, I spell out the implications and contributions these insights can have for (...) our understanding of digital games, including their quite unique character and force. Indeed, once one understands digital games as a quintessential instantia-tion of this intermediate kind of consciousness, one can also better understand the immense pull digital games can have on us, not least their ‘superreality’. (shrink)

As artefacts, the worlds of digital games are designed and developed to fulfil certain expressive, functional, and experiential objectives. During play, players infer these purposes and aspirations from various aspects of their engagement with the gameworld. Influenced by their sociocultural backgrounds, sensitivities, gameplay preferences, and familiarity with game conventions, players construct a subjective interpretation of the intentions with which they believe the digital game in question was created. By analogy with the narratological notion of the implied author, (...) we call the figure to which players ascribe these intentions ‘the implied designer’. In this article, we introduce the notion of the implied designer and present an initial account of how appreciators ascribe meaning to interactive, fictional gameworlds and act within them based on what they perceive to be the designer’s intentions. (shrink)

We investigated the accuracy of gender stereotypes regarding digital game genre preferences. In Study 1, 484 female and male participants rated their preference for 17 game genres (gender differences). In Study 2, another sample of 226 participants rated the extent to which the same genres were presumably preferred by women or men (gender stereotypes). We then compared the results of both studies in order to determine the accuracy of the gender stereotypes. Study 1 revealed actual gender differences for most (...) genres—mostly of moderate size. Study 2 revealed substantial gender stereotypes about genre preferences. When comparing the results from both studies, we found that gender stereotypes were accurate in direction for most genres. However, they were, to some degree, inaccurate in size: For most genres, gender stereotypes overestimated the actual gender difference with a moderate mean effect size. (shrink)

Background Over the last decades, the neurosciences, behavioral sciences, and the social sciences have all seen a rapid development of innovative research methods. The field of bioethics, however, has trailed behind in methodological innovation. Despite the so-called “empirical turn” in bioethics, research methodology for project development, data collection and analysis, and dissemination has remained largely restricted to surveys, interviews, and research papers. We have previously argued for a “Design Bioethics” approach to empirical bioethics methodology, which develops purpose-built methods for investigation (...) of bioethical concerns. In this paper we compare a research tool created using a design bioethics approach to a “methods-as-usual” approach in empirical bioethics.Methods Our study compared dimensions of engagement with a digital game we created, called “Tracing Tomorrow,” to a standard vignette survey. The two tools investigated the same subject matter, digital phenotyping for mental health, in a sample of 301 UK adolescents.Results Participants who played the game reported a greater sense of presence, emotional engagement, cognitive absorption, and mental health ethics insight, compared to participants who completed the vignette survey. Perceived authenticity and curiosity/motivation to learn more was equivalent for both methods.Conclusion The results of this study highlights the importance of purpose-built methodology for empirical bioethics research. (shrink)

Digital games can be considered as composed of two main components: the props, i.e. visual, textual, and aural elements such as codes, 3D models and animations; and the form, specially the interaction between players and games, the act of playing itself. This dichotomy thus begs the question whether digital games are indeed games if nobody plays them, and ultimately: who is the owner of the gameplay and any by-product of the interaction between the game (...) and the players? This paper explores the copyright status of content created by users with digital games, such as gameplay videos and images, for example art based on digital game assets, namely virtual photography; as well as customized in-game objects. Many modern digital games offer considerable freedom to players, in terms of how the action on screen evolves and the visual outcomes that the game can produce. Scholars have asserted that digital games avatars, the characters created in games, should be considered a joint work between players and the game developers and some game companies allow the commercial use of videos created from their games. Conversely, other companies expressly prohibit such use, and issue DMCA takedown notices to infringers. Attention will be devoted to specific games as authorial tools, such as _SpaceEngine_ and _Townscaper_, where there are neither objectives nor challenges, but they are rather tools that enable players’ creativity. (shrink)

Socialization theories suggest that, due to social change and technological transformation, peers and media have become important institutions of socialization for young people. Assuming that male adolescents use digital games for processes of peer self-socialization, this article investigates the values they mediate in digital games and how these values are related to their practice (with a focus on harassment) in digital games. Applying a qualitative research design, 36 male adolescents who frequently play various (multiplayer) (...) online games were interviewed about their values and practices when gaming. The results show that the young gamers share individualistic values promoting performance, competition, and achievement, which seem to facilitate practices of online harassment. We conclude that, in their gaming practices, male adolescents mediate and reproduce neoliberal values as increasingly shared by society. Regarding their practices of harassment, however, they seem to use digital games as a moratorium that lets them break free from societal restrictions. (shrink)

This article provides a phenomenological understanding of contemporary sport and its digital game incarnation. The latter is highlighted as, currently, an example par excellence of what Martin Heidegger referred to as Enframing : the essence of modern technology that discloses being only in its availability for consumption. This concept is clarified and compared with a phenomenological comprehension of art and play. Building upon these notions, the physical sport and its digital emulation are compared and contrasted, illustrating how key (...) criteria for play and artwork are met or nullified. Finally, we come to a diagnosis of the sport digital game in its current form, suggesting how it may meet these criteria through acknowledgement and appreciation of its technological basis. (shrink)

I review the historical context for modeling skilled performance in games. Using Newell's concept of time bands for explaining cognitive behavior, I categorize the current papers in terms of time scales, type of data, and analysis methodologies. I discuss strengths and weaknesses of these approaches for describing skill acquisition and why the study of digital games can address the challenges of replication and generalizability. Cognitive science needs to pay closer attention to population representativeness to enhance generalizability of (...) findings, and to the social band of explanation, in order to explain why so few individuals reach expert levels of performance. (shrink)

Technological shifts within the video game industry have enabled many games to evolve into platforms for repeated expenditure, rather than a one-time purchase product. Monetising a game as a service is challenging, and there is concern that some monetisation strategies may constitute unfair or exploitative practices which are not adequately covered by existing law. We asked 1104 players of video games to describe a time when they had been exposed to transactions which were perceived to be misleading, aggressive (...) or unfair. We found 35 separate techniques over eight domains: game dynamics designed to drive spending, product not meeting expectations, monetisation of basic quality of life, predatory advertising, in-game currency, pay to win, general presence of microtransactions and other. Notably, several of these reported practices seem to not align with existing UK consumer protection regulations. We discuss this potential misalignment, as well as the implications of identifying what players believe to be problematic monetisation techniques. (shrink)

This paper discusses the nature and limits of player embodiment within digital games. We identify a convergence between everyday bodily actions and activity within digital environments, and a trend towards incorporating natural forms of movement into gaming worlds through mimetic control devices. We examine recent literature in the area of immersion and presence in digital gaming; Calleja’s (2011) recent Player Involvement Model of gaming is discussed and found to rely on a probematic notion of embodiment as (...) 'incorporation'. We go on to further reflect on the nature of player involvement in digital gaming environments by applying insights from Maurice Merleau-Ponty's Phenomenology of Perception. It is argued that digital embodiment differs so significantly from primordial embodiment that any idea of total immersion is simply fantasy. We subsequently argue that digital game media nonetheless provide us with unique opportunities for exploring the nature of distinctively human forms of embodiment, and so we need more complete and more reliable phenomenological descriptions of the experiences associated with computer games. (shrink)

Video game players sometimes give voice to an “intuition” that violently harming nonhuman animals in video games is particularly ethically troubling. However, the moral issue of violence against nonhuman animals in video games has received scant philosophical attention, especially compared to the ethics of violence against humans in video games. This paper argues that the seemingly counterintuitive belief that digital animal violence is in general more ethically problematic than digital human violence is likely to be (...) correct. Much video game violence against animals has at least some potential, even if only a modest one, to contribute to moral indifference toward animals and to their routine mistreatment. These possible effects have ethical implications for animals, society, players, and video game designers. (shrink)

Research into the use of videogames in education is on the rise, and they are cementing their position as part of the modernized, digital classroom. Sustainability education has also become a subject of interest among environmentally minded game developers and understanding the educational impact of such games is rapidly becoming an important field. This study examined the educational potential of the digital simulated ecosystem known as Eco, in order to reveal how playing Eco might promote environmental literacy (...) and consciousness surrounding ecosystems. Qualitative data from 7 respondents were subjected to a thematic analysis, revealing two main themes that highlight both game-based learning outcomes as well as barriers against learning. The findings indicate that Eco is a viable tool for promoting environmental literacy about ecosystems, and suggestions for future implementation of Eco are provided. (shrink)

Approaches the direct experience of gaming by asking: what does it mean for the player to enter the machinic "world" of the game? What forms of subjectivity does the game offer to the player? What happens to consciousness itself when one plays?

Over the last 30 years, the computer and videogame has emerged as a popular recreational pastime. While often associated with the artificial and alien, it is my contention that the modern videogame informs on the subject of “nature” and what we consider to be natural. This article delineates some of the “natures” posited in computer game design. It provides a valuable overview of gaming culture and might serve as an introduction to further research on specific game genres. It argues that (...) virtual worlds are currently serving a dual purpose, of reinforcing traditional stereotypes of the natural world, while gradually moving towards radical, new forms of “virtual” nature to contend with. It suggests that the mimicking of biological systems in computer games expresses both our lingering cultural interest in the “great outdoors” and a need to give familiarity and substance to an electronic medium marked by its failure to fit within traditional notions of space and geography. (shrink)

The Aesthetics of Stealth proposes a cultural analysis as well as a political theory of stealth in its various aesthetic articulations.

Digital cognitive games (DCGs) are games whose primary purpose is to mediate (i.e., support, develop, and enhance) cognitive activities such as problem solving, decision making, planning, and critical reasoning. As these games increase in popularity and usage, more attention should be paid to their design. Currently, there is a lack of design processes that provide both structure and room for creative development of such games. This article presents a preliminary process for design of DCGs. The (...) design process involves the application of cognitive toys and isomorphism. Using this process, designers will use a cognitive toy to be inspired to develop DCGs, and isomorphism is intended to help them produce a diverse set of DCGs based on the same cognitive toy. The resulting DCGs will have deep similarity with the original cognitive toy but are unique in terms of their surface features. (shrink)

The paper classifies euthanasia and discusses its typological presence in storytelling video games. It aims to illustrate the importance of experiencing simulated moral challenges in the context of gameworlds as a significantly influential, exponentially growing form of interactive media. In contrast to older works of art and media, such as film and literature, the difference should be emphasized in light of the player’s ability to make choices in video games. Although the influence of gameworld content depends on the (...) player, the experiences and knowledge gained from playing storytelling video games may influence the player’s problem-solving orientation in the landscape of difficult moral dilemmas they may encounter throughout their lives. (shrink)

ABSTRACTThis article presents an ecolinguistic analysis of a popular digital simulation game, Animal Crossing: New Leaf. As the popularity and immersive capability of digital gaming continue...

The aim of this paper is to analyse the effects on the everyday world of actual Augmented Reality games which introduce digital objects in our surroundings from a phenomenological point of view. Augmented Reality is a new technology aiming to merge digital and real objects, and it is becoming pervasively used thanks to the application for mobile devices Pokémon Go by Niantic. We will study this game and other similar applications to shed light on their possible effects (...) on our lives and on our everyday world from a phenomenological perspective. In the first part, we will show how these digital objects are visualised as merged in the surroundings. We will point out that even if they are visualised as part of the everyday world, they are not part of it because they are still related to the fictional world generated by the game. In the second part, we will show how the existence of these objects in their fictional world has effects on the everyday world where everybody lives. The goal of Augmented Reality is not reached yet because these objects are not part of the everyday world, but it already makes our lives embedded with digital elements. We will show if these new objects have effects on our world and on how we live our lives. (shrink)

Critical Gaming: Interactive History and Virtual Heritage can be seen as a collection of chapters designed to provoke thought and discussion, or it can be seen and used as separate chapters that may help class debate in courses dealing with the digital humanities, game studies (especially in the areas of serious games and game-based learning) or aspects of virtual heritage. While there are very few books in this intersecting area, the range of topics that could be investigated and (...) debated is huge. So instead I have concentrated on questions in areas that appear to be central to the intersection of these three areas, have not currently been debated to any great extent or are topics that would suit either individual reflection or classroom discussion and debate. (shrink)

The development of access rights as, perhaps, a replacement for copyright in digital rights management (DRM) systems, draws our attention to the importance of ‚the balance problem’ between information industries and the individual user. The nature of just what this ‚balance’ is, is often mentioned in copyright writings and judgments, but is rarely discussed. In this paper I focus upon elucidating the idea of balance in intellectual property and propose that the balance concept is not only the most feasible (...) way to examine whether past solutions to copyright problems are fair, but it also provides the ability to predict what will be the better solution for all affected parties. Based upon an envy-free contribution towards predicting the efficient balance, game theory is applied in a novel manner to the DRM problem to infer where and what might be the optimal balance in the debate over the nature of access right. (shrink)

While video games have blossomed into the foremost expression of contemporary popular culture over the past decades, their critical study occupies a fringe position in American Studies. In its engagement with video games, this book contributes to their study but with a thematic focus on a particularly important subject matter in American Studies: spatiality. The volume explores the production, representation, and experience of places in video games from the perspective of American Studies. Contributions critically interrogate the use (...) of spatial myths ("wilderness," "frontier," or "city upon a hill"), explore games as digital borderlands and contact zones, and offer novel approaches to geographical literacy. Eventually, Playing the Field II brings the rich theoretical repertoire of the study of space in American Studies into conversation with questions about the production, representation, and experience of space in video games. (shrink)

Metagames: Games About Games scrutinizes how various meta devices, such as breaking the fourth wall and unreliable narrator, change and adapt when translated into the uniquely interactive medium of digital games. Through its theoretical analyses and case studies, the book shows how metafictional experimentation can be used to both challenge and push the boundaries of what a game is and what a player's role is in play, and to raise more profound topics such as those describing (...) experiences of people of oppressed identities. The book is divided into six chapters that deal with the following meta devices: breaking the fourth wall, Hypermediation, unreliable narrator, abusive game design, fragmentation, and parody. The book will predominantly interest scholars and students of media studies and game studies as it continues discourses held in the discipline regarding the metareferential character of digital games. (shrink)

Social relationships are essential for humans; neglecting our social needs can reduce wellbeing or even lead to the development of more severe issues such as depression or substance dependency. Although essential, some individuals face major challenges in forming and maintaining social relationships due to the experience of social anxiety. The burden of social anxiety can be reduced through accessible assessment that leads to treatment. However, socially anxious individuals who seek help face many barriers stemming from geography, fear, or disparities in (...) access to systems of care. But recent research suggested digital behavioral markers as a way to deliver cheap and easily accessible digital assessment for social anxiety: As earlier work shows, players with social anxiety show similar behaviors in virtual worlds as in the physical world, including tending to walk farther around other avatars and standing farther away from other avatars. The characteristics of the movement behavior in-game can be harnessed for the development of digital behavioral markers for the assessment of social anxiety. In this paper, we investigate whether implicit as well as explicit digital behavioral markers, proposed by prior work, for social anxiety can be used for predicting the level of social anxiety. We show that both, explicit and implicit digital behavioral markers can be harnessed for the assessment. Our findings provide further insights about how game-based digital behavioral markers can be used for the assessment of social anxiety. (shrink)

This book examines the origins and boundaries of Japanese digital role-playing games. A geographically diverse roster of contributors introduces English-speaking audiences to Japanese video game scholarship and applies postcolonial and philosophical readings to the Japanese game text.

This book examines the origins and boundaries of Japanese digital role-playing games. A geographically diverse roster of contributors introduces English-speaking audiences to Japanese video game scholarship and applies postcolonial and philosophical readings to the Japanese game text.

What is a “historical” video game, let alone a successful one? It is difficult to answer this question because all our definitions of history have been constructed in a linear-narrative cultural context that is currently being challenged and in large part displaced by digital media, especially video games. I therefore consider this question from the point of view of historical semantics and in relation to the impact of digital technology on all aspects of the historiographical operation, from (...) the establishment of digital archives, to the production of e-texts, to the digital remediation of visual modes of historical representation. Seen from this dual perspective, video games appear to participate in a process of spatialization and virtualization of historical semantics. In the first place, video games have begun to detach the notion of history from its double reference to the past and to the real—“what essentially happened”—that it had acquired at the end of the eighteenth century. Second, they also challenge the semiotic production of “historic events” that has characterized the construction of modern historical consciousness. Historical video games, in other words, replace representation with simulation and presence with virtuality, thereby marginalizing the oscillation of the modern historical imagination between historical facts and historic events, transcendence and immanence, representation and presence. Although digital reworkings of historical semantics have not produced any grammatical transformation of the signifier, history—nor does this essay propose one—I do argue that the impact of video games on our contemporary historic culture is of paradigmatic proportions similar to those described by Reinhart Koselleck for the dawn of the modern age. Focusing on one of the most successful contemporary video games, Sid Meier’s Civilization, I show how the remediation of cinematic genres by video games is pushing the processes of de-temporalization and de-referentialization of history toward the formation of a new notion of the historical that may be conceptualized as the inversion of the classic Aristotelian paradigm: history has replaced poetry and philosophy as the realm of the possible. (shrink)

In The Interface Envelope, James Ash develops a series of concepts to understand how digital interfaces work to shape the spatial and temporal perception of players. Drawing upon examples from videogame design and work from post-phenomenology, speculative realism, new materialism and media theory, Ash argues that interfaces create envelopes, or localised foldings of space time, around which bodily and perceptual capacities are organised for the explicit production of economic profit. Modifying and developing Bernard Stiegler's account of psychopower and Warren (...) Neidich's account of neuropower, Ash argues the aim of interface designers and publishers is the production of envelope power. Envelope power refers to the ways that interfaces in games are designed to increase users perceptual and habitual capacities to sense difference. Examining a range of examples from specific videogames, Ash identities a series of logics that are key to producing envelope power and shows how these logics have intensified over the last thirty years. In turn, Ash suggests that the logics of interface envelopes in videogames are spreading to other types of interface. In doing so life becomes enveloped as the environments people inhabit becoming increasingly loaded with digital interfaces. Rather than simply negative, Ash develops a series of responses to the potential problematics of interface envelopes and envelope power and emphasizes their pharmacological nature. (shrink)

When the threat posed by the digitalization of our lives is debated in our media, the focus is usually on the new phase of capitalism called “surveillance capitalism”: a total digital control over our lives exerted by state agencies and private corporations. However, important as this “surveillance capitalism” is, it is not yet the true game changer; there is a much greater potential for new forms of domination in the prospect of direct brain-machine interface (“wired brain”). First, when our (...) brain is connected to digital machines, we can cause things to happen in reality just by thinking about them; then, my brain is directly connercted to another brain, so that another individual can directly share my experience). Extrapolated to its extreme, wired brain opens up the prospect of what Ray Kurzweil called Singularity, the divine-like global space of shared awareness … Whatever the (dubious, for the time being) scientific status of this idea, it is clear that its realization will affect the basic features of humans as thinking/speaking beings: the eventual rise of Singularity will be apocalyptic in the complex meaning of the term: it will imply the encounter with a truth hidden in our ordinary human existence, i.e., the entrance into a new post-human dimension, which cannot but be experienced as catastrophic, as the end of our world. But will we still be here to experience our immersion into Singularity in any human sense of the term? (shrink)

James Wynn’s timely investigation highlights scientific studies grounded in publicly gathered data and probes the rhetoric these studies employ. Many of these endeavors, such as the widely used SETI@home project, simply draw on the processing power of participants’ home computers; others, like the protein-folding game FoldIt, ask users to take a more active role in solving scientific problems. In Citizen Science in the Digital Age: Rhetoric, Science, and Public Engagement, Wynn analyzes the discourse that enables these scientific ventures, as (...) well as the difficulties that arise in communication between scientists and lay people and the potential for misuse of publicly gathered data. (shrink)

This article explores the properties of glitch within practices of in-game photography. It argues that capturing the breaking of game textures and graphics reveals the process of creation of photorealism and the remediation of traditional photography within digital and playable spaces. On the other hand, it proposes that screenshotting game glitches acts as an involuntary bug report and part of an economy of ever-optimizing networked images.

Video games and virtual worlds play substantial roles in contemporary transhumanism. Many transhumanists appreciate the freedom and power that accompany these digital landscapes and recognize that they can promote transhumanist ways of thinking beyond the borders of explicitly transhumanist groups. Video games and virtual worlds enable transcendence through their design and contribute to transhumanism through the options they enable and the influence they have. Because of their significant place in transhumanism, video games and virtual worlds are (...) thus important to the study of religion and science in the twenty‐first century. (shrink)

The return of a classic book about games and play that illuminates the relationship between the well-played game and the well-lived life. In The Well-Played Game, games guru Bernard De Koven explores the interaction of play and games, offering players—as well as game designers, educators, and scholars—a guide to how games work. De Koven's classic treatise on how human beings play together, first published in 1978, investigates many issues newly resonant in the era of video and (...) computer games, including social gameplay and player modification. The digital game industry, now moving beyond its emphasis on graphic techniques to focus on player interaction, has much to learn from The Well-Played Game. De Koven explains that when players congratulate each other on a “well-played” game, they are expressing a unique and profound synthesis that combines the concepts of play (with its associations of playfulness and fun) and game (with its associations of rule-following). This, he tells us, yields a larger concept: the experience and expression of excellence. De Koven—affectionately and appreciatively hailed by Eric Zimmerman as “our shaman of play”—explores the experience of a well-played game, how we share it, and how we can experience it again; issues of cheating, fairness, keeping score, changing old games (why not change the rules in pursuit of new ways to play?), and making up new games; playing for keeps; and winning. His book belongs on the bookshelves of players who want to find a game in which they can play well, who are looking for others with whom they can play well, and who have discovered the relationship between the well-played game and the well-lived life. (shrink)

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

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