A Review of Stefano Gualeni and Daniel Vella's Virtual Existentialism

Total Page:16

File Type:pdf, Size:1020Kb

A Review of Stefano Gualeni and Daniel Vella's Virtual Existentialism PRZEGLĄD KULTUROZNAWCZY NR 4 (46) 2020, s. 493–497 doi:10.4467/20843860PK.20.042.12846 www.ejournals.eu/Przeglad-Kulturoznawczy/ OMÓWIENIA I ROZBIORY David j. Gunkel VIRTUAL SUBjECTIVITIES: A REVIEW OF STEFANO GUALENI AND DANIEL VELLA’S VIRTUAL EXISTENTIALISm Stefano Gualeni and Daniel Vella, Virtual Existentialism: Meaning and Subjectivity in Virtual Worlds, Cham, Switzerland: Palgrave Macmillan, 2020. Virtual Existentialism is a short book. aware of these decisive choices and di- Like all the titles in the Palgrave Pivot rectly address the opportunities and chal- series, the text is intentionally formu- lenges of their strategic decisions. But lated to fit somewhere in between the the reasons for and consequences of the- length of a journal article and a mono- se exclusions does, in the final analysis, graph. This concision is simultaneously leave one wanting more than a book of an advantage and a challenge. On the this size can possibly deliver. one hand, a book of this limited length The book is organized into two main allows readers quick and easy access to parts. The first part, which consists of an innovative approach to games and ga- the first two chapters, establishes the mes studies – one that leverages the rich theoretical framework of the analysis. traditions and resources of 20th century The first chapter, “Virtual Subjectivities existential philosophy. Readers are able and the Existential Significance of Vir- to get up to speed with minimal invest- tual Worlds”, introduces the organizing ment in terms of time and effort, and this concept of “virtual subjectivity,” which is something that works extremely well the authors define as the subjective sense for a generation raised on shorter bursts of self that relates to one’s being-in-the- of textual information supplied by digi- -virtual-world. This characterization pro- tal media. On the other hand, the need to ceeds by drawing on the terminology and keep things tightly focused and succinct theoretical resources made available in does require the bracketing or margina- existential philosophy – throwness, exi- lization of important subjects that, for stential projection, being-in-the-world, one reason or another, resist being sideli- etc. Of crucial significance here is the ned. To their credit, the authors are fully notion of nested existential positionality VIRTUAL SUBjECTIVITIES... 493 David j. Gunkel – the idea that players simultaneously in- virtual subjectivities or digital masks that habit a subjective standpoint internal to one may take on and off and play-with the gameworld and their own subjective in the simulated space of a virtual world. standpoint as an individual external to This difference is the defining condition the gameworld. This double perspective of Western metaphysics. It is evident in (or what is also called, later in the book, Platonism, which had differentiated be- a “double consciousness”) is a useful tween actual being, which remains per- contribution to the existing literature as sistently the same, and mere appearances it can help make sense of the way play- that can be multiple and endlessly alte- ers move into and out of the virtual expe- red. It finds expression in the modern OMÓWIENIA I ROZBIORY rience. era with Cartesian dualism, which loca- The second chapter, “En-roling and tes the essence of human identity in res De-roling in Virtual Worlds,” follows cogitans as opposed to the vicissitudes this line of reasoning by investigating of res extensa. And it has been the stan- how users navigate and make sense of dard operating presumption for the way these changing and changeable subject game studies typically explains and un- positions. As the authors correctly point derstands the subjectivity of the avatar: out, there is a significant body of work “While the more fundamental persona- on subjectivities in virtual worlds but re- lity of the real person is still driving in latively little addressing the transitions the background,” Tom Boellstorff (2008: into and out of these multiple and diffe- 132) writes, “it’s filtered through a diffe- rent subjectivities. The second chapter rent surface persona.” considers the processes and the rituals of The authors are not unaware of the what the authors call the “en-roling” into problems and potential risks of deploy- and “de-roling” from virtual subjectivi- ing and defending this metaphysical tra- ties. For this reason, the chapter is less dition, and, in the second chapter, they dependent on the literature and termino- acknowledge it directly by way of citing logy of existential philosophy and more the work of Goffman. “The work of Er- involved with and informed by work in ving Goffman on selfhood, for example, psychodrama and dramatherapy. The could cast a problematic light on this goal of the chapter is “to arrive at a com- idea (i.e. that one can discern a stable, prehensive understanding of the transfor- unified sense of the everyday ‘self’)… mative and therapeutic possibilities and For Goffman, the boundaries between advantages afforded by adopting virtual the various roles we can adopt are blur- subjectivities in virtual worlds” (p. 26). red and porous, and identity is something Pursing this particular course of in- that is always performative and in a state vestigation, however, does require a con- of flux” (p. 27). Later in the book, in the cession that complicates the existentia- final chapter in fact, they will come at it list framework and effects what follows again by way of Eugene Fink’s engage- from it. Specifically, the authors find it ment with the mask, which the authors necessary to differentiate between the explain in the following way: “As is the actual or real “everyday” self and the case with Fink’s notion of play, though, 494 VIRTUAL SUBjECTIVITIES... David j. Gunkel philosophical figure, applying their ideas this is not just about the ability to take OMÓWIENIA I ROZBIORY on one specific other identity. Rather, it is to the concept of virtual subjectivity. about the fact that virtuality destabilizes What is remarkable about these four the idea of a single self in a single world, chapters is their choice of “philosophical and might allow – at least in theory – for figures.” Here one does not find the usu- a more fluid and multifaceted understan- al suspects (i.e. Kierkegaard, Heidegger, ding of selfhood, thus blurring the distin- Nietzsche, Camus, etc.) apart from the ction between the actualized self and its one notable exception, Jean Paul Sartre. potentialities” (p. 105). But even with Sartre, the subject of chap- In both cases, however, the book no- ter 6, the work that has been selected for ticeably struggles against the insights analysis is not Sartre’s magnum opus, supplied by these two theorists and tries Being and Nothing; it is the lesser known to manage or redirect their impact and The Imaginary: A Phenomenological significance. Playing with virtual subje- Psychology of the Imagination. ctivity has the potential to reconfigure The other philosophers included in traditional metaphysical assumptions this second part are Helmuth Plessner and affordances, demonstrating how the (chapter 4), Peter W. Zapffe (chapter concept of a stable, unified sense of the 5), and Eugen Fink (chapter 7). These everyday self situated in the “real world” are not “top tier” existentialist thinkers, may be just as variable and alterable as but they supply, as I think the authors virtual subjectivities appear to be in the demonstrate with exceptional dexterity, space of the game. Instead of pursing much needed perspective for address- this critical opportunity, Virtual Exi- ing the opportunities and challenges of stentialism opts to defend the traditional virtual subjectivity. Plessner, who was way of thinking and its investments in a contemporary of Heidegger and a stu- ontological difference. Here is how this dent of Max Scheler, has remained on the decision is explained and justified in the sidelines of the history of 20th century final chapter: “The existential promise philosophy, and his major contribution, that Fink identifies in play – and that we a book titled Levels of the Organic Life have considered in the virtual as a parti- and the Human was not available in Eng- cular technological manifestation of play lish translation until 2019. Despite this – needs to be qualified. This fluidity of fact, Gualani and Vella make a compel- the self is not absolute, and one’s actual ling case for applying Plessner’s unique self continues to occupy a central posi- brand of philosophical anthropology to tion” (p. 106). Although this assertion is the study of virtual worlds. understandable within the context of the A similar situation befalls Zapffe, analysis, it is simply asserted and not su- the Norwegian philosopher and moun- fficiently established by way of persuasi- taineer, who advanced an innovative ve argumentation or evidence. characterization of the human being as The second part of the book consists a tragic, overdetermined animal that is of four shorter chapters, each of which an exorbitant excess within the natural engages with the thought of a different world. Fink, who may be the best known VIRTUAL SUBjECTIVITIES... 495 David j. Gunkel figure in this threesome, mainly because 1977) and directly engaging that previo- of his affiliation with both Husserl and usly published material would not only Heidegger, completes the second part of help substantiate the provided definition the book. In the final chapter, the authors of technology but would also fill-out focus on Fink’s 1960 book Play as Sym- some of the missing details in its presen- bol of the World. It is remarkable and tation. rather surprising that this text and Fink’s The second concerns the apparent unique analysis of play has not been fea- exclusion or marginalization of intersub- tured more prominently in game studies. jective experience. Virtual Existentialism Fortunately, Gualani and Vella repair this decides to focus its analytical attention on OMÓWIENIA I ROZBIORY oversight, effectively demonstrating how the experience of the individual subject’s Fink’s innovative investigations can in- being-in-the-virtual-world.
Recommended publications
  • Projectuality in Digital Gameworlds
    Projectuality in Digital Gameworlds Daniel Vella University of Malta Msida, MSD2080, Malta [email protected] Stefano Gualeni University of Malta Msida, MSD2080, Malta [email protected] Keywords Phenomenology, existentialism, goals, projects, subjectivity, worldness INTRODUCTION With the objective of articulating an understanding of the existential structure of the player’s engagement with the gameworld, this paper draws on the notion of the ‘project,’ as developed in the existential philosophy of Martin Heidegger (1962[1927]) and, in particular, of Jean-Paul Sartre (1966[1943]). The existential notion of the project could generally defined as an orientation towards an overarching goal that, at its core, reveals the aspiration to shape one’s individual existence in a certain way. The project is an activity of self-determination – a process through which the individual works towards being “a certain type of person” (McInerney, 1979, 667). It is in the light of this projectual disposition that things are recognized as meaningful to the individual. It is because of that attitude that the things a player encounters in a gameworld are interpreted as important, secondary, pleasant, unpleasant, negligible, desirable, right, wrong, etc. The in-game project frames game entities as resources, obstacles, boundaries, friends, foes, and it is in this way that the digital game environment, as the player’s existential situation, takes the conscious form of a meaningful world of possibility. The paper’s exploration of the player’s engagement
    [Show full text]
  • Investigating the Ontological in Virtual Reality Performance
    Investigating the Ontological in Virtual Reality Performance Research Question: How do the theatre makers PIPS: lab and Urland/CREW investigate Stefano Gualeni’s concept that virtual reality is an ‘ontological tool’ that redefines human-technology relationships? Master Thesis: Contemporary Theatre, Dance and Dramaturgy MA Nadine Westveer De Mul 6168477 Supervisor: Chiel Kattenbelt Submission date: 15th August 2018 Word Count: 17,427 Westveer De Mul 2 ABSTRACT This thesis offers a critical and philosophical reflection on how the theatre makers PIPS:lab, Urland and CREW use virtual reality as an “ontological tool”, a term coined by Italian game designer and philosopher Stefano Gualeni in his text Virtual Worlds as Philosophical Tools: How to Philosophize with a Digital Hammer (2015). The research decodes the fragments of ontology in relation to Heideggerian philosophy and additional postphenomenological ideas that are divided between two sub-topics: Space and the body. These two thematic guidelines identify how the theatre makers use specific framing techniques to blur or expose how technology frames our own ontological reality, which Gualeni defines as a transition from traditional ontologies to virtual ontologies (Gualeni 2015). The research hypothesises that virtual realities potential as an ontological tool reveals the human necessity to have agency, feel present and understand the mechanics of one’s own virtual reality experience; in order to escape any applied definition of existential dread to the contextualisation of human-technology relationships. Acknowledgements: I would like to say a special thank you to the following individuals who have significantly helped me through this thesis journey: Thank you Urland for providing and trusting me with vital resources, To my father for his translation support, To David for his patience, And Jane, for being a wonderful study companion throughout this journey.
    [Show full text]
  • André Thomas 1020 Sanctuary Ct., College Station TX 77840 Phone: +1 407-927-8617 [email protected]
    André Thomas 1020 Sanctuary Ct., College Station TX 77840 Phone: +1 407-927-8617 [email protected] Education M.F.A, Game Design 2017 Laguna College of Art & Design Final Work: “Pandit” • Advisors: Curtis Murphy, Bob Nicoll, Stefano Gualeni Diploma/Apprenticeship Tool & Die Making 1990 VEB Weimar Werk, Germany Academic and Professional Experience Current Positions Assistant Professor of the Practice, 2017 - present Texas A&M University, College of Architecture, Department of Visualization Director, LIVE lab 2017 - present Texas A&M University, College of Architecture, Department of Visualization CEO, 2014 - present Triseum LLC, Bryan TX Founded the company which is a spin off from Texas A&M University and has been created to commercialize the products that are being designed and developed in the LIVE lab. Past Academic Positions Lecturer, 2015 - 2017 Texas A&M University, College of Architecture, Department of Visualization Visiting associate Lecturer, 2003 - 2004 University of the Arts London, London College of Communication, UK Past Professional Positions Head of Graphics, 2007 – 2013 Madden NFL ’08 – ‘14 (game) NCAA College Football ’08 – ‘14 (game) NFL Head Coach ‘10 (game) NFL Blitz (game) NFL Tour (game) EA Sports Football, Electronic Arts, Orlando FL Responsible for the strategy, planning and execution of all Graphics development for all Football Franchises, Madden NFL, NCAA Football, Head Coach, NFL Tour, and NFL Arcade on all SKU’s. • Leading and directing graphics development for Football products • Establishing product
    [Show full text]
  • Self-Reflexive Videogames
    Issue 05 – 2016 Self-refexive videogames STEFANO GUALENI University of Malta [email protected] Self-refexive videogames Observations and corollaries on virtual worlds as philosophical artifacts ABSTRACT Self-refexive videogames are videogames designed to materialize critical and/or satirical perspectives on the ways in which videogames themselves are designed, played, sold, manipulated, experienced, and understood as social ob- jects. This essay focuses on the use of virtual worlds as mediators, and in partic- ular on the use of videogames to guide and encourage refections on technical, interactive, and thematic conventions in videogame design and development. Structurally, it is composed of two interconnected parts: In the frst part of this essay, I will discuss NECESSARY EVIL (Gualeni et al., 2013), an experimental videogame that I designed as a self-refexive virtual ar- tifact. With the objective of clarifying the philosophical aspirations of self-refex- ive videogames – and in order to understand how those aspirations can be practi- cally pursued – I will dissect and examine the design decisions that contributed to the qualities of NECESSARY EVIL as an example of “playable philosophy”. Taking of from the perspectives on self-refexive videogames ofered in the frst part of the essay, the second half will focus on virtual worlds as viable mediators of philosophical thought more in general. In this section, I will argue that, both through the practice of game design and through the interactive ex- periences of virtual worlds, twenty-frst century philosophers have the possibil- ity to challenge the ofen-unquestioned understanding of written discourse as the only context in which philosophical thought can emerge and be developed.
    [Show full text]
  • What Is It Like to Be a Digital Bat.Pdf
    What is it Like to Be a (Digital) Bat? STEFANO GUALENI NHTV University of Applied Sciences - International Game Design and Architecture - Reduitlaan 41, 4814 DC – Breda (The Netherlands) [email protected] 0. ABSTRACT Could a person ever transcend what it is like to experience and understand the world as a human being? Could humans ever know what it is like to be another entity? In the last century, similar questions about human subjectivity have often been raised within the context of post-metaphysical thinking. In particular, the ones presented at the beginning of this paragraph were tackled from the perspective of philosophy of mind by Thomas Nagel in his 1974 essay What is it Like to Be a Bat? Nagel’s reflections and answers to those interrogatives were elaborated before the social diffusion of computers and did not anticipate the cultural impact of a technology capable of disclosing interactive and persistent experiences of virtual worlds as well as virtual alternatives to the ‘self’. This paper utilizes the observations, the theoretical insights and hypothetical suggestions offered in What is it Like to Be a Bat? and Martin Heidegger’s framework for a philosophical understanding of technology as its theoretical springboards. The scope of my reflection is precisely that of assessing the potential of interactive digital media for transcending human subjectivity. The chosen theoretical perspectives lead to the preliminary conclusion that, even if there is no way of either mapping or reproducing the consciousness of a real bat, interactive digital technology can grant access to experiences and even systems of perception that were inaccessible to humans prior to the advent of computers.
    [Show full text]
  • Satirical Game Design
    Satirical Game Design: The Case of the Boardgame Construction BOOM! Jasper Schellekens Stefano Caselli [email protected] Institute of Digital Games, University of Malta Institute of Digital Games, University of Malta Msida, Malta Msida, Malta [email protected] Stefano Gualeni Krista Bonello Rutter Giappone Institute of Digital Games, University of Malta Department of English, University of Malta Msida, Malta Msida, Malta ABSTRACT citizens lacking tangible influence on the decision-making process. To recognize satire, the audience must be aware of the context This situation ultimately fueled the frustration and indignation that and the satirical intent of the work in question. Academic research resulted in the creation of Construction BOOM! [29]. on the possibilities and effects of satire in games is minimal, if The game was designed with the intent to critique what the compared with other rhetorical uses of playful interaction. This authors perceived to be the absurd nonchalance of the general paper contributes to our understanding of satire in games by dis- population in the face of the unrestrained real estate development cussing and annotating design decisions that were meant to be that they were confronted with, and impacted by, on a daily basis. taken satirically. More specifically, the focus of this paper is Con- National alarm was only raised following a number of collapses struction BOOM!, a tile-laying boardgame designed by the some of adjacent to construction sites in 2019 [4, 10, 23, 62, 64, 67] and also the authors of the paper (Gualeni and Schellekens) themselves with provided the impetus to the development of the game mechanics the overt intention of satirizing the current situation of real-estate of Construction BOOM! [29].
    [Show full text]
  • Curriculum Vitae
    CURRENT ACADEMIC POSTS: ■ Associate Professor at the Institute of Digital Games (IDG) at the University of Malta - Research areas: Game Design, Philosophy of Technology, Existentialism, Game Studies, and Virtual Worlds Research (since my promotion in March 2016) ■ Visiting Professor in Game Design at the MFA in Game Design at the Laguna College of Art and Design (LCAD), Laguna Beach (California) (since June 2015) PREVIOUS ACADEMIC POSTS: ■ Visiting Researcher at the Centre for Digital Humanities (CDH) at the University of Gothenburg, Gothenburg (Sweden) (September 2018 - February 2019) ■ Senior Lecturer in Game Design at the Institute of Digital Games (IDG) at the University of Malta (January 2015 until my promotion in March 2016) ■ Lecturer in Game Design, Game Architecture, and Game Studies at the Breda University of Applied Sciences (BUAS), Breda (The Netherlands) (August 2006 - January 2015) EDUCATION: ♠ ERASMUS UNIVERSITY ROTTERDAM, Rotterdam (the Netherlands) Ph. D. in Philosophy (April 2014) – Dissertation title: AUGMENTED ONTOLOGIES (Prof. Jos de Mul) ♥ HOGESCHOL VOOR DE KUNSTEN UTRECHT, Utrecht (the Netherlands) M. A. in Fine Arts (August 2008) – Thesis title: OPERA MORTA ♦ POLYTECHNIC UNIVERSITY OF MILAN, Milan (Italy) M. Sc. in Architecture (July 2004, five-year Laurea Magistralis) – obtained cum laude ♣ LICEO SCIENTIFICO C. BATTISTI, Lovere (Italy) Diploma (July 1997) awarded with a final grade of 60/60 I COMMERCIALLY PUBLISHED GAMES: ■ Hyperbole (2021), PC 3D action puzzle (by Nils Deslé, in open beta at: https://nilsdesle.itch.io/hyperbole) My roles: additional game design ■ The Horrendous Parade (2011), iPad and iPhone action-puzzle game developed by Double Jungle S.a.S. My roles: creative director, game designer, writer, IP owner ■ Fronte del Basket 2 (2006), PC internationally licensed basketball simulation developed by Idoru S.r.L.
    [Show full text]
  • Mechanisms for Adopting Subjectivities in the Gameworld Daniel Vella University of Malta Msida, MSD2080 Malta [email protected]
    Processes of Roling: Mechanisms for Adopting Subjectivities in the Gameworld Daniel Vella University of Malta Msida, MSD2080 Malta [email protected] Stefano Gualeni Jonne Arjoranta University of Malta University of Jyväskylä Msida, MSD2080 PL 35, 40014 Malta Finland [email protected] [email protected] Keywords subjectivity, roling, gameworld, embodiment EXTENDED ABSTRACT This text focuses on what we shall term processes of ‘roling’ – that is, those practices, experiences, and activities by which the player is led to form an understanding of, and to internalize, a particular subjectivity or role in relation to the virtual world of a game. This subjective existence in the gameworld is determined by a variety of factors, including the capabilities and limitations the player is given towards the gameworld– and, resultingly, the affordances available to her (Linderoth 2013), the goals she has set or has allowed to be set for herself, and the ways in which she can be affected by other entities in the gameworld. This understanding of the player’s in-game subjectivity is grounded in theorizations, within existing game studies literature, of notions like embodiment (Taylor 2002; Grodal 2003; Klevjer 2006; 2012; Bayliss 2007a; 2007b; Gee 2008; Gregersen and Grodal 2009; Martin 2012; Keogh 2018), the Game Ego (Wilhelmsson 2008), incorporation (Calleja 2011), the gameplay situation (Kania 2017) and ludic or virtual subjectivity (Vella 2015; 2016; Vella and Gualeni 2019). The subjectivity that such approaches theorize, then, has little to do with the socially and cognitively complex practices of role-playing (Bowman 2013); instead, it refers to the formally structured standpoint established for the “implied player” (Aarseth 2007) of the game – and which any actual playing individual can choose to align themselves with or react against.
    [Show full text]
  • OF US, PLAYERS Pathways in the Diffusion of Digital Gaming: Relocations, Pervasiveness, Gamification Edited by the Editors at GAME
    ISSN 2280-7705 The Italian Journal www.gamejournal.it Associazione Culturale LUDICA of Game Studies Games as Art, Media, Entertainment Issue 01, 2012 – volume 1 JOURNAL (PEER-REVIEWED) ALL OF US, PLAYERS Pathways in the diffusion of digital gaming: relocations, pervasiveness, gamification Edited by the Editors at GAME GAME JOURNAL – Peer-Reviewed Section Issue 01 – 2012 GAME Journal Games as Art, Media, Entertainment G|A|M|E is an international, peer-reviewed, free access games studies journal. G|A|M|E publishes one monographic issue per year A PROJECT BY SUPERVISING EDITORS Associazione Culturale LUDICA Antioco Floris (Università di Cagliari), Roy Menarini (Università di Udine), Leonardo Quaresima (Università di Udine) Reggio Calabria IT & London UK HQ: Via Vittorio Veneto 33 89123 Reggio Calabria, Italy EDITORS Offices: 52 Kelly Avenue, London SE15 5LH, UK Stefano Baschiera (Queen’s University, Belfast), Marco Benoît Carbone (University College London), Giovanni Caruso (Università di Udine), Riccardo Fassone (Università di Torino), Gabriele Ferri (Università di Bologna), Adam Gallimore In association with (University of Warwick), Ivan Girina (University of Warwick), Federico Giordano (Università per Stranieri di Perugia), filmforumfestival.it Valentina Paggiarin, Justin Pickard, Paolo Ruffino (Goldsmiths, University of London), Mauro Salvador (Università Cattolica, Milano) WITH THE PATRONAGE OF Università di Cagliari ADVISORY BOARD Dipartimento di Storia, Espen Aarseth (IT University of Copenaghen), Matteo Bittanti (California College
    [Show full text]
  • In the Contexts of Video Game Studies and Video Game Design, The
    The Philosophy of Computer Games Conference, Berlin 2015 SELF-TRANSFORMATION THROUGH GAME DESIGN Stefano Gualeni 0. INTRODUCTION Communication is an activity that characterizes all living forms, and it is a particularly challenging one. As human beings, we experience difficulties in conveying ideas or explaining processes on an everyday basis. Such difficulties become progressively more vexing with the growing complexity of what we intend to communicate. Our struggling with the articulation of notions is often also a symptom of our not having a complete or completely conscious understanding of the very information that we are trying to communicate. The mere ‘working understanding’ of something hardly enables us to clearly and efficiently teach or explain that something to someone else. It appears as if we can only competently organize, re-focus, and metaphorize concepts and courses of action for our interlocutors (and comfortably meet their communicative preferences) once we have sufficiently internalized that particular knowledge or that specific process ourselves. Every time we design something that is meant to have a communicative or didactical purpose (such as a recipe, a ‘serious’ videogame, or a conference presentation), we are faced first and foremost with the challenge of consolidating and completing our own knowledge about what we are trying to communicate. This paper will focus on the transformations that occur in human beings when they are involved in the process of structuring information for other human beings. Its conceptual basis is the notion according to which during the process of structuring transformative experiences for somebody, we inherently develop and refine our own sensitivity and knowledge.
    [Show full text]
  • Cruz Martinez, Manuel Alejandro.Pdf
    A University of Sussex PhD thesis Available online via Sussex Research Online: http://sro.sussex.ac.uk/ This thesis is protected by copyright which belongs to the author. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Please visit Sussex Research Online for more information and further details The Potential of Video Games for Exploring Deconstructionist History Manuel Alejandro Cruz Martínez Thesis submitted for the degree of Doctor of Philosophy University of Sussex July 2019 2 Declaration I hereby declare that this thesis is the result of my own research. This thesis has not been and will not be submitted in whole or in part to another University for the award of any other degree. Manuel Alejandro Cruz Martínez 3 Abstract This thesis examines the potential of historical video games for exploring deconstructionist history. Historical video games have become one of the most popular and accessible forms of historical narratives in the 21st century, forming a key part of public engagement with history. This popularity has also placed these games under growing scrutiny, including calls for critically analysing their role in the construction and representation of historical narratives and epistemologies. For example, addressing topics like the emphasis on military history, the dominance of western perspectives and contexts, or teleological notions of progress.
    [Show full text]
  • VIRTUAL WELTSCHMERZ Things to Keep in Mind While Building Experience Machines and Other Tragic Technologies
    VIRTUAL WELTSCHMERZ Things to keep in mind while building experience machines and other tragic technologies Stefano Gualeni, Institute of Digital Games – University of Malta This is a pre-print draft for: Gualeni, S. 2017. “VIRTUAL WELTSCHMERZ - Things to keep in mind while building experience machines and other tragic technologies”. In Silcox, M. (ed.), Experience Machines: The Philosophy of Virtual Worlds, 113-133. London, UK: Rowman and Littlefield International. 0. INTRODUCTION Having made it this far into the present book, it is practical to assume that the readers are already familiar with ‘The Experience Machine’, a thought experiment that was proposed in the seventies by American philosopher Robert Nozick. To summarize: Nozick hypothesized the existence of a device capable of disclosing persistent virtual1 experiences for the human being using it. The experiences upheld by his fictional machine are envisaged to be indistinguishable from those that we, as humans, can develop in relation with the actual world. In this outline of Nozick’s thought experiment, I am using the descriptor ‘actual’ to indicate the analog contexts that we inhabit everyday as (and with) biological creatures. Nozick’s thought experiment challenged us to envision having access to a device that could indefinitely supplant our everyday experiences with virtual ones designed to maximize our pleasure and satisfaction. By presenting us with the possibility of an experience machine, he invited reflections on whether the way we live our lives is solely driven by the pleasure principle, or if there is something else that we value other than how we feel ‘from the inside’. If such a machine existed, asked the American philosopher, “would you plug in?” (Nozick, 1974, 42) As already mentioned in the introduction to this book, Nozick’s mental exercise has been differently invoked and interpreted in various contexts.
    [Show full text]