We argue that pedagogic authority relies on love, which is misunderstood if seen as a matter of actions and subjects. Love is based not on finite subjects and objects existing in Euclidean space and linear time, but, rather, on the non-finite ontology, space and time of relations. Loving authority is a matter of calling and vocation, arising from the spontaneous and simultaneous call-and-response of a lively relation. We make this argument through a reading of Buber’s I–You relation and Murdoch’ s (...) account of the responsiveness of ascetic discipline. In presenting this analysis, we draw upon a case study from a research project on Australian teachers and students. (shrink)

What is a game? What are we doing when we play a game? What is the value of playing games? Several different philosophical subdisciplines have attempted to answer these questions using very distinctive frameworks. Some have approached games as something like a text, deploying theoretical frameworks from the study of narrative, fiction, and rhetoric to interrogate games for their representational content. Others have approached games as artworks and asked questions about the authorship of games, about (...) the ontology of the work and its performance. Yet others, from the philosophy of sport, have focused on normative issues of fairness, rule application, and competition. The primary purpose of this article is to provide an overview of several different philosophical approaches to games and, hopefully, demonstrate the relevance and value of the different approaches to each other. Early academic attempts to cope with games tried to treat games as a subtype of narrative and to interpret games exactly as one might interpret a static, linear narrative. A faction of game studies, self-described as “ludologists,” argued that games were a substantially novel form and could not be treated with traditional tools for narrative analysis. In traditional narrative, an audience is told and interprets the story, where in a game, the player enacts and creates the story. Since that early debate, theorists have attempted to offer more nuanced accounts of how games might achieve similar ends to more traditional texts. For example, games might be seen as a novel type of fiction, which uses interactive techniques to achieve immersion in a fictional world. Alternately, games might be seen as a new way to represent causal systems, and so a new way to criticize social and political entities. Work from contemporary analytic philosophy of art has, on the other hand, asked questions whether games could be artworks and, if so, what kind. Much of this debate has concerned the precise nature of the artwork, and the relationship between the artist and the audience. Some have claimed that the audience is a cocreator of the artwork, and so games are a uniquely unfinished and cooperative art form. Others have claimed that, instead, the audience does not help create the artwork; rather, interacting with the artwork is how an audience member appreciates the artist's finished production. Other streams of work have focused less on the game as a text or work, and more on game play as a kind of activity. One common view is that game play occurs in a “magic circle.” Inside the magic circle, players take on new roles, follow different rules, and actions have different meanings. Actions inside the magic circle do not have their usual consequences for the rest of life. Enemies of the magic circle view have claimed that the view ignores the deep integration of game life from ordinary life and point to gambling, gold farming, and the status effects of sports. Philosophers of sport, on the other hand, have approached games with an entirely different framework. This has lead into investigations about the normative nature of games—what guides the applications of rules and how those rules might be applied, interpreted, or even changed. Furthermore, they have investigated games as social practices and as forms of life. (shrink)

This note identifies and comments on selected crucial traits of Robert Aumann’s philosophy of game theory. In doing so, it aims at carving out and expressing some notions tacitly held by many working game theorists and ideally even at triggering subsequent reflection on the philosophy of game theory in general. According to my reconstruction of Aumann’s position, sophisticated, relatively precise rules of language—an ultra-refined grammar for interactions—constitute the heart of game theory. Consequently, the heart of game theory is (...) devoid, or almost devoid, of empirical content. The final section proposes a nomenclature for lucidly discussing the relationships between theories, different types of models, and “the real world” and employs it to explicate and slightly amend Aumann’s remarks on the role of truth and fruitfulness in game theory. (shrink)

This is an Element surveying the most important literature using game theory and evolutionary game theory to shed light on questions in the philosophy of biology. There are two branches of literature that the book focuses on. It begins with a short introduction to game theory and evolutionary game theory. It then turns to working using signaling games to explore questions related to communication, meaning, language, and reference. The second part of the book addresses prosociality - strategic behavior (...) that contributes to the successful functioning of social groups - using the prisoner's dilemma, stag hunt, and bargaining games. (shrink)

Although a large number of theories justify the presence of games in school, all of them converge in two of the educational functions described by Biesta, socialization and qualification. In contra...

The most cursory look at video games raises several interesting issues that have yet to receive any consideration in the philosophy of art, such as: Are videogames art and, if so, what kind of art are they? Are they more closely related to film, or are they similar to performance arts, such as dance? Perhaps they are more akin to competitive sports and games like diving and chess? Can we even define “video game” or “game”? We often (...) say that video games are interactive, but what is interactivity and what are the effects of interactivity on eliciting emotional responses from players? (shrink)

What role do imaginary games have in story-telling? Why do fiction authors outline the rules of a game that the reader will never watch or play? Combining perspectives from philosophy, literature and game studies, this book provides the first in-depth investigation into the significance of games in fictional worlds. With examples from contemporary cinema and literature, from The Hunger Games to the science fiction of Iain M. Banks, Stefano Gualeni and Riccardo Fassone introduce four key functions (...) that different types of imaginary games have in worldbuilding. First, fictional games can emphasize the dominant values and ideologies of the fictional society they belong to. Second, some games function as critical, utopian tools, inspiring shifts in the thinking and political orientation of the fictional characters. Third, imaginary games, especially those with a magical component, are conducive to the transcendence of a particular form of being, such as the overcoming of human corporeality. And fourth, fictional games can deceptively blur the boundaries between the contingency of play and the irrevocable seriousness of "real life", either camouflaging life as a game or disguising a game as something with more permanent consequences. With illustrations in every chapter, bringing the imaginary games to life, Gualeni and Fassone creatively inspire us to consider fictional games anew: not as moments of playful reprieve in a storyline, but as significant and multi-layered rhetorical devices. (shrink)

This chapter contains sections titled: Comments and Replies Conclusion Acknowledgments References.

This is the first volume to apply insights from the material turn in philosophy to the study of play and games. At a time of renewed interest in analogue gaming, as scholars are looking beyond the digital and virtual for the first time since the inception of game studies in the 1990s, Material Game Studies not only supports the importance of the turn to the analogue, but proposes a materiality of play more broadly. Recognizing the entanglement of physical (...) materiality with cultural meaning, the authors in this volume apply a range of theoretical approaches, from material eco-criticism to animal studies, to examine games and play as existing within worlds of matter. Different chapters focus on the material properties of board, card and role-playing games, how they are designed and made, how they are touched and played with, and how they connect with other human and nonhuman things. Bringing together international scholars, Material Game Studies defines a new field of material game studies and demonstrates how it is a valuable addition to wider debates about the material turn and the place of embodied humans in a material world. (shrink)

This second edition of _Philosophy of Sport: Core Readings_ provides an overview of core topics in the field, ranging from fundamental questions about the nature of sport to ethical issues at the forefront of discussions of what sport should be. On the nature of sport, readers will gain a solid understanding of fundamental theories of games, play, and sports, as well as sport epistemology, the esports controversy, and sport aesthetics. Topics in the ethics of sport include performance-enhancing drugs, cheating, (...) gamesmanship, and sportsmanship. This edition has been updated and expanded to include sections on gender and race and to provide broader and deeper coverage of this rapidly evolving area. (shrink)

Moral, Lügen und Intrigen sind die Themen bei George R.R. Martin. Gerade weil es in dieser Geschichte keine klassische Unterteilung in Gut und Böse gibt, ist eine philosophische Betrachtung der Beweggründe der Personen für ihr Handeln interessant. Ist Familie oder Rache wichtiger? Wer sollte die Sieben Königreiche regieren? Darf man um der Ehre Willen einen Krieg riskieren? Warum sollte der Gewinner des Throns noch moralisch handeln? All das sind Fragen, die Buch und Serie aufwerfen und mit Die Philosophie bei Game (...) of Thrones betrachtet und diskutiert werden. (shrink)

The literature of economic theory, like that of philosophy, abounds in prefaces and prolegomena. Methodology and analysis of concepts take an important place in a science which has not found the sure path of development. But there is no sure path for methodology either. The selfconscious methodology of social science has been largely a borrowing from that of physical science, where procedures have developed to a stage of considerable maturity. But the analogy falls down where guidance is most needed, (...) at the points where social science is most likely to develop new concepts and new types of structure. Philosophers have not been lacking, indeed, to belittle the entire enterprise, and to deny the possibility of anything that could strictly be called social science. (shrink)

Partial proceedings of the 17th World Congress, International Association for Philosophy of Law and Social Philosophy, Bologna, 1995.

I LOGIC IN PHILOSOPHY— PHILOSOPHY OF LOGIC i. On the relation of logic to philosophy I n this book, the consequences of certain logical insights for ...

Games are a distinctive form of art — and very different from many traditional arts. Games work in the medium of agency. Game designers don’t just tell stories or create environments. They tell us what our abilities will be in the game. They set our motivations, by setting the scoring system and specifying the win-conditions. Game de-signers sculpt temporary agencies for us to occupy. And when we play games, we adopt these designed agencies, submerging ourselves in them, (...) and taking on their specified ends for a while. Games constitute a library of agencies — and by exploring them, we can learn new ways to inhabit our own agency. When we play games, we engage in a special form of agential fluidity. We can absorb ourselves temporarily in alternate, constructed agencies. Games make use of that capacity to record different practical mindsets. Games turn out to be our technology for communicating forms of agency. (shrink)

The article combines later Wittgenstein’s fictitious language games, along with the forms of life associated with them, with the concept of otherness and places them both within the philosophy of education. The account of otherness overlaps with the view of fictional language games in that the latter deviates from our ordinary, extant uses of language and our Lebensform, and thus can be perceived as extraordinary, unusual, strange, and sometimes nonsensical. The advantages of dealing with such construed preposterousness (...) rely, first, on its leading to a better understanding of our own form of life; second, on its opening a window on the changing of our form of life; third, on its acquainting us with the other. The educational roles of it are presented, first, as being needed at the very beginning of a child’s language learning, when the learner probes the limits of sense and thus enters the domain of otherness; second, as freeing children from the tyranny of adults’ norms and showing the norms that adults accept as absurd; thirdly, as puzzlement that gives an impulse to our thought development, which occurs in contact with the other. Therefore, it is claimed that Wittgenstein’s later philosophy opens perspectives on educational thinking not only in terms of teacher training (Abrichtung) of the learner to follow the rules of existing practices, but also in terms of imagination and critical attitude towards the existing forms of life. (shrink)

We prove that every abstractly defined game algebra can be represented as an algebra of consistent pairs of monotone outcome relations over a game board. As a corollary we obtain Goranko's result that van Benthem's conjectured axiomatization for equivalent game terms is indeed complete.