Media and Radical Embodiment

Media in Mind ◽  
2019 ◽  
pp. 71-96
Author(s):  
Daniel Reynolds
Keyword(s):  
Video Games ◽  
Video Game ◽  
Philosophy Of Mind ◽  
Mental Representations ◽  
Psychological Theory ◽  
Media Theory ◽  
The Mind ◽  
Radical Embodiment ◽  
Psychological Experiments

This chapter addresses the concept of mental representations in both media theory and philosophy of mind. It argues that, contrary to what representationalist models claim, the mind does not work by way of an internal language or internal images but through active bodily engagement with the environment. The chapter discusses how mental representations have functioned historically in media theory. It shows how video games have been employed in philosophical and psychological argumentation about the nature of the mind. It presents the case of Hugo Münsterberg, a psychologist whose encounter with film impacted his psychological theory. It discusses the role of imagery in video game play. It illustrates how the use of moving image media in psychological experiments can reinforce ideas about internal mental representations.

Do Writing Directions Influence How People Map Space onto Time?

2018 ◽  
Vol 77 (4) ◽  
pp. 173-184
Author(s):  
Wenxing Yang ◽  
Ying Sun
Keyword(s):  
Mental Representations ◽  
Space Time ◽  
Horizontal Axis ◽  
Causal Role ◽  
Writing Systems ◽  
Temporal Cognition ◽  
Japanese Speakers ◽  
Psychological Experiments ◽  
Vertical Up

Abstract. The causal role of a unidirectional orthography in shaping speakers’ mental representations of time seems to be well established by many psychological experiments. However, the question of whether bidirectional writing systems in some languages can also produce such an impact on temporal cognition remains unresolved. To address this issue, the present study focused on Japanese and Taiwanese, both of which have a similar mix of texts written horizontally from left to right (HLR) and vertically from top to bottom (VTB). Two experiments were performed which recruited Japanese and Taiwanese speakers as participants. Experiment 1 used an explicit temporal arrangement design, and Experiment 2 measured implicit space-time associations in participants along the horizontal (left/right) and the vertical (up/down) axis. Converging evidence gathered from the two experiments demonstrate that neither Japanese speakers nor Taiwanese speakers aligned their vertical representations of time with the VTB writing orientation. Along the horizontal axis, only Japanese speakers encoded elapsing time into a left-to-right linear layout, which was commensurate with the HLR writing direction. Therefore, two distinct writing orientations of a language could not bring about two coexisting mental time lines. Possible theoretical implications underlying the findings are discussed.

scholarly journals Choices and Consequences: The Role of Players in The Walking Dead: A Telltale Game Series

2017 ◽  
Vol 1 (1) ◽  
pp. 350-358 ◽  
Author(s):  
Matteo Genovesi
Keyword(s):  
Decision Making ◽  
Video Games ◽  
Video Game ◽  
Comic Books ◽  
Active Role ◽  
Interactive Approach ◽  
Transmedia Storytelling ◽  
The Walking Dead ◽  
Walking Dead

Abstract One of the most important features in a transmedia structure, as Max Giovagnoli argues in his book Transmedia: Storytelling e Comunicazione [Transmedia: Storytelling and Communication], is the development of the user’s decision-making power, defined by the author as “choice excitement.” In this, every choice of the user should have a consequence in the fictional universe of a specific franchise. Consequently, a narrative universe that wants to emphasize choice excitement and the active role of people can focus on video games, where the interactive approach is prominent. This essay will discuss a specific video game, based on the famous franchise of The Walking Dead. This brand, which appears in comic books, novels, TV series, Web episodes and video games, is analysable not only as an exemplary case of transmedia storytelling, where every ramification of the franchise published in different media is both autonomous and synergistic with the others, but also by focusing on the choice excitement of users in the first season of the video game The Walking Dead: A Telltale Game Series.

“Now They’re Playing with Power!”: Nintendo’s Classics and Franchise Legacy Management

2019 ◽  
pp. 105-118
Author(s):  
Matthew Thomas Payne
Keyword(s):  
Video Games ◽  
Video Game ◽  
Software And Hardware

Matthew Thomas Payne’s chapter considers the role of franchise management through video games. He uses the case study of Nintendo’s NES and SNES micro-consoles. His essay posits that franchises can refer to both software and hardware, as the built-in games on Nintendo’s mini-consoles function as a form of franchise management and corporate canonizing by privileging certain video game texts over others.

Meaningful Video Games

2011 ◽  
pp. 312-329 ◽  
Author(s):  
Stephen Brock Schafer ◽  
Gino Yu
Keyword(s):  
Video Games ◽  
Video Game ◽  
World View ◽  
Full Range ◽  
Somatic Awareness ◽  
Physiological Processes ◽  
Skin Response ◽  
Psychological Transformation ◽  
Objective Basis ◽  
The Mind

The development of more meaningful video games is becoming increasingly possible by recent advances in video game technologies, neurosciences, and biofeedback. In the near future, meaningful video games will be designed to facilitate personal-psychological transformation. Unlike “serious games” that focus on education and “conditioning” the mind, meaningful games will cultivate emotional intelligence, somatic awareness, and archetypal integration in order to “un-condition” the mind and thereby facilitate psychologically meaningful personal transformations. Meaningful game research will access the dynamics of psychological transformation in order to enhance archetypal awareness, intuition, and insight on the part of players. Within the genre of meaningful video games, Drama-Based Games (DBG) add an unprecedented dimension for psychological engagement and decision-making. Because they extend psychological player immersion to the dimension of “physical” interactivity, (DBG) incorporate the full range of psychological functions defined by Carl Jung. Because psychological experiences are correlated with physiological processes, DBG may be used as research instruments for quantifying diverse biometric-psychological interactions that occur during game play. Advances in electronics now enable the real-time and non-intrusive capturing of physiological data such as brain waves (e.g., electroencephalography), heart-rate variability, skin response, and facial expression. This data can provide an objective basis for measuring dimensions of the cognitive unconscious in test subjects as they respond to game experiences. The ultimate goal of research is to provide veridical data relative to the psychological parameters of an increasingly mediated global environment—a Psychecology—and to study the ensuing world-view.

Feeling for an Audience

2019 ◽  
Vol 5 (2) ◽  
pp. 85-102
Author(s):  
Bonnie Ruberg ◽  
Amanda L. L. Cullen
Keyword(s):  
Video Games ◽  
Video Game ◽  
Emotional Labor ◽  
Streaming Video ◽  
Live Streaming ◽  
Instructional Videos ◽  
New Directions ◽  
Shed Light ◽  
Do So

Abstract The practice of live streaming video games is becoming increasingly popular worldwide (Taylor 2018). Live streaming represents more than entertainment; it is expanding the practice of turning play into work. Though it is commonly misconstrued as “just playing video games,” live streaming requires a great deal of behind-the-scenes labor, especially for women, who often face additional challenges as professionals within video game culture (AnyKey 2015). In this article, we shed light on one important aspect of the gendered work of video game live streaming: emotional labor. To do so, we present observations and insights drawn from our analysis of instructional videos created by women live streamers and posted to YouTube. These videos focus on “tips and tricks” for how aspiring streamers can become successful on Twitch. Building from these videos, we articulate the various forms that emotional labor takes for video game live streamers and the gendered implications of this labor. Within these videos, we identify key recurring topics, such as how streamers work to cultivate feelings in viewers, perform feelings, manage their own feelings, and use feelings to build personal brands and communities for their streams. Drawing from existing work on video games and labor, we move this scholarly conversation in important new directions by highlighting the role of emotional labor as a key facet of video game live streaming and insisting on the importance of attending to how the intersection of play and work is tied to identity.

scholarly journals Embodiment and the Philosophy of Mind

1998 ◽  
Vol 43 ◽  
pp. 35-51 ◽  
Author(s):  
Andy Clark
Keyword(s):  
Problem Solving ◽  
Real World ◽  
Philosophy Of Mind ◽  
Local Environment ◽  
Inner Model ◽  
The World ◽  
Cognitive Scientist ◽  
Biological Problem ◽  
The Mind

Cognitive science is in some sense the science of the mind. But an increasingly influential theme, in recent years, has been the role of the physical body, and of the local environment, in promoting adaptive success. No right-minded cognitive scientist, to be sure, ever claimed that body and world were completely irrelevant to the understanding of mind. But there was, nonetheless, an unmistakeable tendency to marginalize such factors: to dwell on inner complexity whilst simplifying or ignoring the complex inner-outer interplays that characterize the bulk of basic biological problem-solving. This tendency was expressed in, for example, the development of planning algorithms that treated real-world action as merely a way of implementing solutions arrived at by pure cognition (more recent work, by contrast, allows such actions to play important computational and problem-solving roles). It also surfaced in David Marr's depiction of the task of vision as the construction of a detailed threedimensional image of the visual scene. For possession of such a rich inner model effectively allows the system to ‘throw away’ the world and to focus subsequent computational activity on the inner model alone.

scholarly journals Virtual Reality Games and the Role of Body Involvement in Enhancing Positive Emotions and Decreasing Anxiety: Within-Subjects Pilot Study (Preprint)

2019 ◽  
Author(s):  
Federica Pallavicini ◽  
Alessandro Pepe
Keyword(s):  
Virtual Reality ◽  
Video Games ◽  
Video Game ◽  
State Anxiety ◽  
Positive Emotions ◽  
Negative Emotions ◽  
Traditional Concept ◽  
High Body ◽  
Within Subjects

BACKGROUND In the last few years, the introduction of immersive technologies, especially virtual reality, into the gaming market has dramatically altered the traditional concept of video games. Given the unique features of virtual reality in terms of interaction and its ability to completely immerse the individual into the game, this technology should increase the propensity for video games to effectively elicit positive emotions and decrease negative emotions and anxiety in the players. However, to date, few studies have investigated the ability of virtual reality games to induce positive emotions, and the possible effect of this new type of video game in diminishing negative emotions and anxiety has not yet been tested. Furthermore, given the critical role of body movement in individuals’ well-being and in emotional responses to video games, it seems critical to investigate how body involvement can be exploited to modulate the psychological benefits of virtual reality games in terms of enhancing players’ positive emotions and decreasing negative emotions and anxiety. OBJECTIVE This within-subjects study aimed to explore the ability of commercial virtual reality games to induce positive emotions and diminish negative emotions and state anxiety of the players, investigating the effects of the level of body involvement requested by the game (ie, high vs low). METHODS A total of 36 young adults played a low body-involvement (ie, <i>Fruit Ninja VR</i>) and a high body-involvement (ie, <i>Audioshield</i>) video game in virtual reality. The Visual Analogue Scale (VAS) and the State-Trait Anxiety Inventory, Form-Y1 (STAI-Y1) were used to assess positive and negative emotions and state anxiety. RESULTS Results of the generalized linear model (GLM) for repeated-measures multivariate analysis of variance (MANOVA) revealed a statistically significant increase in the intensity of happiness (<i>P</i>&lt;.001) and surprise (<i>P</i>=.003) and, in parallel, a significant decrease in fear (<i>P</i>=.01) and sadness (<i>P</i>&lt;.001) reported by the users. Regarding the ability to improve anxiety in the players, the results showed a significant decrease in perceived state anxiety after game play, assessed with both the STAI-Y1 (<i>P</i>=.003) and the VAS-anxiety (<i>P</i>=.002). Finally, the results of the GLM MANOVA showed a greater efficacy of the high body-involvement game (ie, <i>Audioshield</i>) compared to the low body-involvement game (ie, <i>Fruit Ninja VR</i>), both for eliciting positive emotions (happiness, <i>P</i>&lt;.001; and surprise, <i>P</i>=.01) and in reducing negative emotions (fear, <i>P</i>=.05; and sadness, <i>P</i>=.05) and state anxiety, as measured by the STAI-Y1 (<i>P</i>=.05). CONCLUSIONS The two main principal findings of this study are as follows: (1) virtual reality video games appear to be effective tools to elicit positive emotions and to decrease negative emotions and state anxiety in individuals and (2) the level of body involvement of the virtual video game has an important effect in determining the ability of the game to improve positive emotions and decrease negative emotions and state anxiety of the players.

scholarly journals Video Game Values: Play as Human-Computer Interaction

2021 ◽  
Author(s):  
◽  
Pippin Barr
Keyword(s):  
Video Games ◽  
Human Computer Interaction ◽  
Activity Theory ◽  
Video Game ◽  
Game Play ◽  
Video Game Play ◽  
Game Activity ◽  
Multiple Levels ◽  
Computer Interaction

<p>Video games are a form of software and thus an obvious object of study in Human-Computer Interaction (HCI). Interaction with video games differs from the usual understanding of HCI, however, because people play video games rather than use them. In this dissertation we ask: " How can we analyse human-computer interaction in video games when the interaction in question is play?" We propose video game values, defined as sustained beliefs about preferable conduct during play, as a basis for video game HCI. In order to describe and analyse play we use activity theory, focusing on how the interface mediates players' beliefs about preferable conduct. Activity theory allows us to address the multiple levels of context and detail in play as well as the role of conflict. We employ a qualitative case study methodology to gather data about five popular video games: Civilization III, Fable, Grand Theft Auto: San Andreas, Half-Life 2, and The Sims 2. Our core data comes from observation and interview sessions with twenty-five experienced players of these games. We collected further data based on the games' interfaces, participant observation, and documentation such as manuals and walkthroughs. We make three key contributions to video game HCI: 1) We introduce video game values as a means to analyse play as a form of human-computer interaction and show how the values of PAIDIA and LUDUS influence all aspects of play; 2) we develop a video game activity framework for describing and analysing video game play at multiple levels of detail and context; and 3) we extend the video game activity framework to include contradictions and breakdowns as a means to describe and analyse the role of conflict and challenge in video game play.</p>

scholarly journals The Evolution of Moral Cognition

2021 ◽  
Author(s):  
◽  
Tony James Scott
Keyword(s):  
Cognitive Science ◽  
Philosophy Of Mind ◽  
Extended Cognition ◽  
Moral Cognition ◽  
Cognitive Capacities ◽  
Inheritance Model ◽  
The Mind ◽  
Evolution Of Mind ◽  
Dual Inheritance

<p>Many modern approaches to the evolution of mind have claimed that the fundamental drivers of our cognitive capacities and cultures are genetically specified psychological adaptations, which evolved in response to evolutionary pressures deep within our lineage's history. Many of our cognitive capacities are innate. Recent approaches to moral cognition have similarly argued that moral cognition is innate. In this thesis, I argue that even though our capacity for moral cognising is an adaptation, it is a learned adaptation. Moral cognition is not innate. In arguing this thesis I will question many of the assumptions of traditional cognitive science and evolutionary approaches to the mind. By incorporating theory and evidence from cognitive science and the philosophy of mind, I apply the explanatory frameworks of embodied and extended cognition to the domain of morality: moral cognition is both embodied and extended cognition. This places particular importance on the role of our bodies and world in the fundamental structuring and scaffolding of the development and execution of moral cognition. Putting this in an evolutionary framework, I develop a dual inheritance model of the non-nativist evolution of moral cognition focusing on the roles of niche construction, biased learning and active learning in the transfer of moral phenotypes between generations. Morality is a learned adaptation that evolved through the dynamic and reciprocal interaction between genes and culture.</p>

scholarly journals Interfejsy intymności. Tendencje intymistyczne we współczesnych grach wideo

2021 ◽  
pp. 215-239
Author(s):  
Piotr Kubiński
Keyword(s):  
Video Games ◽  
Video Game ◽  
Game Design ◽  
Necessary Condition ◽  
Final Conclusion ◽  
Contemporary Culture ◽  
Video Game Design ◽  
The Individual ◽  
Media Form

The article concentrates on a specific tendency that can be observed in some video games created in recent years. This trend is that more and more video games present an intimate perspective and focus on the individual experience of the protagonist. The author of the article approaches the phenomenon in question mainly from the interpretative and genological perspective, since video games are not a media form commonly identified with the expression of intimate, formative or identitycreating experiences. The author starts with an analysis of the reasons why video games and intimistic texts are commonly perceived as very distant genre forms. Then he analyzes those video games that represent the intimistic tendency: Bury me, my Love (The Pixel Hunt, 2017), A Normal Lost Phone (Accidental Queens, 2017) and Wanderlust: Travel Stories (Different Tales, 2019). The analysis leads to the following conclusions: what is common for all the three discussed games is i.a. a particularly important role of the text as the basic semiotic material in which the game is realized. Even though Interfejsy intymności this concentration on the word is not a necessary condition of intimistic poetics – it definitely helps introducing such a dimension into the work. What is more, two of the three discussed games use the strategy of remediating a smartphone. In both cases, the creators designed new interfaces modeled on the real ones and turned navigating on the phone screen into basic game mechanics. This, in turns, means that intimistic tendencies in video games stimulate reaching for new genre forms. This process of remediation is possible mainly because modern intimacy has shifted very clearly towards the digital, and smartphones have become its basic tool. This phenomenon, which the author of the article calls ‘intimacy 2.0’, is a result of the fact that: (a) contemporary culture is deeply anchored in the digital and its interfaces, and (b) the importance of smartphones in everyday communication and media consumption has been growing enormously in recent years. The final conclusion of the paper is as follows: all the discussed games use an intimate perspective to evoke empathy, which was not a typical video game design goal. This is especially interesting, given the fact, that all the analyzed games remain primarily commercial products that are driven by the laws of the market.

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