Awards

• Winner of Winner, 2021 Book Prize, American Philosophical Association.

Overview

Games are a unique art form. Games work in the medium of agency. Game designers tell us who to be and what to care about during the game. Game designers sculpt alternate agencies, and game players submerge themselves in those alternate agencies. Thus, the fact that we play games demonstrates the fluidity of our own agency. We can throw ourselves, for a little while, into a different and temporary motivations. This volume presents a new theory of games which insists on their unique value. C. Thi Nguyen argues that games are an integral part our systems of communication and our art. Games sculpt our practical activities, allowing us to experience the beauty of our own actions and reasoning. Bridging aesthetics and practical reasoning, he gives an account of the special motivational structure involved in playing games. When we play games, we can pursue a goal, not for its own value, but for the value of the struggle. Thus, playing games involves a motivational inversion from normal life. We adopt an interest in winning temporarily, so we can experience the beauty of the struggle. Games offer us a temporary experience of life under utterly clear values, in a world engineered to fit to our abilities and goals.Games also let us to experience forms of agency we might never have developed on our own. Games, it turns out, are a special technique for communication. They are a technology that lets us record and transmit forms of agency. Our games form a ""library of agency"" and we can explore that library to develop our autonomy. Games use temporary restrictions to force us into new postures of agency.

Full Product Details

9780190052089

Table of Contents

Reviews

Nguyen (philosophy, Univ. of Utah) analyzes games as aesthetic creations engaging the art of agency, whose ultimate higher-order goals include the development of a library of agencies DLthe discovery (or creation) and practice of modes of achieving goals in general. Despite the obvious (and acknowledged) debt to Bernard Suits's The Grasshopper (1978), this is no mere echo or defense of Suits's view of play, but rather a sophisticated and updated elaboration thereof, with many carefully chosen examples to support a variety of nuanced theses. ... This work significantly advances the philosophy of games, and will be a rewarding read for anyone interested in the other fields mentioned above, regardless of their level of experience. -- S. E. Forschler, CHOICE

Nguyen (philosophy, Univ. of Utah) analyzes games as aesthetic creations engaging the art of agency, whose ultimate higher-order goals include the development of a library of agencies -the discovery (or creation) and practice of modes of achieving goals in general. Despite the obvious (and acknowledged) debt to Bernard Suits's The Grasshopper (1978), this is no mere echo or defense of Suits's view of play, but rather a sophisticated and updated elaboration thereof, with many carefully chosen examples to support a variety of nuanced theses. ... This work significantly advances the philosophy of games, and will be a rewarding read for anyone interested in the other fields mentioned above, regardless of their level of experience. * S. E. Forschler, CHOICE *

Author Information

C. Thi Nguyen as of July 2020 is Associate Professor of Philosophy at the University of Utah. His research focuses on how social structures and technology can shape our rationality and our agency. He has published on trust, expertise, group agency, community art, cultural appropriation, aesthetic value, echo chambers, moral outrage porn, and games. He received his PhD from UCLA. Once, he was a food writer for the Los Angeles Times. He tweets at @add hawk.

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