Journal articles by Olli Tapio Leino
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Este artigo examina criticamente os fundamentos fenomenológicos daquilo que podemos chamar de “pa... more Este artigo examina criticamente os fundamentos fenomenológicos daquilo que podemos chamar de “paradigma da espacialidade” no estudo dos videogames – o projeto de se utilizar metáforas e terminologias espaciais para compreender a atividade de jogo. Apoiando-me na tradição (pós)fenomenológica, argumento que, embora essa terminologia seja útil para projetos analíticos que busquem elucidar a estrutura e forma do artefato de jogo, bem como os processos que facilitam, noções espaciais não necessariamente se adequam ao aspecto de primeira-pessoa que constitui a experiência de se jogar um videogame – especialmente nos casos de jogos que não se sustentam em locomoção e propriocepção simuladas em espaços tridimensionais. Além disso, debato que as diferenças entre jogos para um jogador e jogos multiplayer – ou seja, que jogos para um jogador podem ser descritos, usando o enquadramento de relações de intencionalidade de Ihde, como situados em “relações de alteridade”, e jogos multiplayer em “r...
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Teksty Drugie
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Games & Culture
Through a case study of variations in the game of Mahjong differing from each other in terms of t... more Through a case study of variations in the game of Mahjong differing from each other in terms of the extent of technological assistance involved, this article sheds light on questions of transmediality and technological specificity of games and play. It argues that while the variations in Mahjong can be described as sitting together in a family resemblance, the specificities of the technologies and the sociocultural contexts involved give rise to new kinds of playful practices that are not reducible to the " transmedial Mahjong " but whose understanding nevertheless necessitates knowledge of the rules and conventions of Mahjong. This not only casts critical light on how the " ludological " paradigm of game studies has defined its object of study but also prompts reconsideration of the role of technology when applying perspectives that emphasize the processual nature of games.
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This article introduces the juxtaposed notions of liberal and neo-liberal gameplay in order to sh... more This article introduces the juxtaposed notions of liberal and neo-liberal gameplay in order to show that, while forms of contemporary game culture are heavily influenced by neo-liberalism, they often appear under a liberal disguise. The argument is grounded in Claus Pias’ idea of games as always a product of their time in terms of economic, political and cultural history. The article shows that romantic play theories (e.g. Schiller, Huizinga and Caillois) are circling around the notion of play as ‘free’, which emerged in parallel with the philosophy of liberalism and respective socio-economic developments such as the industrialization and the rise of the nation state. It shows further that contemporary discourse in computer game studies addresses computer game/play as if it still was the romantic form of play rooted in the paradigm of liberalism. The article holds that an account that acknowledges the neo-liberalist underpinnings of computer games is more suited to addressing contemporary computer games, among which are phenomena such as free to play games, which repeat the structures of a neo-liberal society. In those games the players invest time and effort in developing their skills, although their future value is mainly speculative – just like this is the case for citizens of neo-liberal societies.
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Game Studies, Jan 31, 2012
Death loop is a feature and not a bug mmkay?
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Philosophy & Technology, 2014
ABSTRACT
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Ludic Society, 2007
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Book Chapters by Olli Tapio Leino
J. Enevold & E MacCallum-Stewart (eds.): Game Love: Essays on Play and Affection
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The Philosophy of Computer Games (Philosophy of Engineering and Technology)
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Philosophy of Computer Games Conference Papers by Olli Tapio Leino
Proceedings of Philosophy of Computer Games 2018 Conference
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Proceedings of Philosophy of Computer Games 2017 Conference
This paper discusses the conditions of possibility for relating to, understanding, and appreciati... more This paper discusses the conditions of possibility for relating to, understanding, and appreciating “gameplay performances”, that is, computer games as played by other people, through an existential-ludological and phenomenological analysis of 'mundane vehicle simulators', in particular Euro Truck Simulator 2 (2012, later ETS2) with TruckersMP multiplayer mod (2014).
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Philosophy of Computer Games 2016 Conference
In this paper I will discuss, by building on post-phenomenological philosophy of technology, exis... more In this paper I will discuss, by building on post-phenomenological philosophy of technology, existential ludology, and game studies, the conditions of possibility for discovery in computer games and present a sketch for a model of three 'levels of discovery' in computer games: discovery of that which we can do, of that which we need to do, and, of what we want to do.
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Philosophy of Computer Games 2015 Conference
This paper focuses on gameness, meaning, and materiality of single-player computer games. It asks... more This paper focuses on gameness, meaning, and materiality of single-player computer games. It asks: what are the things we call single-player computer games and how can we interpret them? Making use of Heidegger’s duality of ontic and ontological dimensions, and, looking at Cities: Skylines (2015) as an example, this paper reconciles single-player computer games’ ‘gameness’ and material-technological form in order to describe the conditions underlying their interpretation.
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Proceedings of Philosophy of Computer Games 2014
This paper draws upon existentialism, play theory, and game studies and makes use of first-person... more This paper draws upon existentialism, play theory, and game studies and makes use of first-person insights on Pocket Planes (2014) in order to address questions pertaining to the nature of freedom in single-player computer game play. On one hand, this paper could be read as a critique of Pocket Planes. On the other, it focuses on Pocket Planes as a case through which to examine the usefulness of the idea of ‘free play’ for the description of the interactions we have with single-player computer game artifacts. First, I shall briefly introduce Pocket Planes to give the reader a context, and then proceed to cross-expose concepts from Fromm’s dualistic notion of freedom with ideas of play from Hendricks and Fink. I shall then analyse how the experience of playing Pocket Planes matches with this constellation, and proceed to discuss what the analysis
could possibly tell us about freedom and play on a more general level.
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In this paper I will critically examine the phenomenological underpinnings of what we
might call... more In this paper I will critically examine the phenomenological underpinnings of what we
might call the ‘spatiality paradigm’ in computer game studies – the project of using
spatial metaphors and terminology to understand computer game play. Drawing on the
(post-)phenomenological tradition, I argue that while this terminology is useful for
analytic projects seeking to shed light on the structure and form of the game artifact and
the processes it facilitates, spatial notions do not necessarily resonate with the first-person
experience of computer game play, especially in cases of playing games of genres which
do not rely on simulated locomotion and proprioception in three-dimensionally modeled
space. Furthermore, I argue that the differences between single-player and multi-player
games – namely that single-player games can be described, using Ihde’s framework of
intentionality relations, as situating in ‘alterity relations’ and multi-player games in
‘relations of mediation’ – further complicate the issue of spatiality in computer games.
Given these observations, I suggest that whereas the spatial notions appear problematic
for the purpose of first-person description of the experience of playing single-player
computer games, the notion of ‘game world’ seems more accurate a description of that
with which the players are engaged with.
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In recent studies on emotions and computer games the experiential side of emotions is often left ... more In recent studies on emotions and computer games the experiential side of emotions is often left uncharted due to methodological constraints. Regarding a comprehensive understanding on computer games and emotions such ignorance is untenable. By basing its analysis on an experience already lived as an emotional playing experience, this paper examines emotions in play in regard to both their qualities and the totalities in which their objects reside. The paper investigates the
grounds on which some emotions in play could be said to be more real than others and suggests the existence of at least two totalities of emotions in play: the deniable and the undeniable.
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Conference Papers by Olli Tapio Leino
This paper draws on post-phenomenological philosophy of technology and contemporary discourse on ... more This paper draws on post-phenomenological philosophy of technology and contemporary discourse on interactive art in order to shed light on the role of technological mediation in electronic art, i.e., the flows of audience’s experiences into and through the artworks, and, the role of technology in facilitating these flows. The analysis results in a distinction between “interactive” and “mediating” art on the one hand, and “mediation as a tool” and “mediation as an end itself” on the other.
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Journal articles by Olli Tapio Leino
Book Chapters by Olli Tapio Leino
Philosophy of Computer Games Conference Papers by Olli Tapio Leino
could possibly tell us about freedom and play on a more general level.
might call the ‘spatiality paradigm’ in computer game studies – the project of using
spatial metaphors and terminology to understand computer game play. Drawing on the
(post-)phenomenological tradition, I argue that while this terminology is useful for
analytic projects seeking to shed light on the structure and form of the game artifact and
the processes it facilitates, spatial notions do not necessarily resonate with the first-person
experience of computer game play, especially in cases of playing games of genres which
do not rely on simulated locomotion and proprioception in three-dimensionally modeled
space. Furthermore, I argue that the differences between single-player and multi-player
games – namely that single-player games can be described, using Ihde’s framework of
intentionality relations, as situating in ‘alterity relations’ and multi-player games in
‘relations of mediation’ – further complicate the issue of spatiality in computer games.
Given these observations, I suggest that whereas the spatial notions appear problematic
for the purpose of first-person description of the experience of playing single-player
computer games, the notion of ‘game world’ seems more accurate a description of that
with which the players are engaged with.
grounds on which some emotions in play could be said to be more real than others and suggests the existence of at least two totalities of emotions in play: the deniable and the undeniable.
Conference Papers by Olli Tapio Leino
could possibly tell us about freedom and play on a more general level.
might call the ‘spatiality paradigm’ in computer game studies – the project of using
spatial metaphors and terminology to understand computer game play. Drawing on the
(post-)phenomenological tradition, I argue that while this terminology is useful for
analytic projects seeking to shed light on the structure and form of the game artifact and
the processes it facilitates, spatial notions do not necessarily resonate with the first-person
experience of computer game play, especially in cases of playing games of genres which
do not rely on simulated locomotion and proprioception in three-dimensionally modeled
space. Furthermore, I argue that the differences between single-player and multi-player
games – namely that single-player games can be described, using Ihde’s framework of
intentionality relations, as situating in ‘alterity relations’ and multi-player games in
‘relations of mediation’ – further complicate the issue of spatiality in computer games.
Given these observations, I suggest that whereas the spatial notions appear problematic
for the purpose of first-person description of the experience of playing single-player
computer games, the notion of ‘game world’ seems more accurate a description of that
with which the players are engaged with.
grounds on which some emotions in play could be said to be more real than others and suggests the existence of at least two totalities of emotions in play: the deniable and the undeniable.
express themselves through their creations, while the player wants a new instrument to play (with). Apart from either side compromising on their interests, there is no reconciliation in sight; hence the “tragedy”.
Proceedings of the 22nd International Symposium on Electronic Art
Editor: Dr. Olli Tapio Leino
Co-Editors: Dr. Damien Charrieras, Dr. Kimburley Choi, Dr. Daniel
Howe, Dr. David Jhave Johnston, Dr. Hanna Wirman
Cover Design: Trilingua
deemed as "negative" suggests that there is something in the ways in which we make sense of computer games that separates gameplay from other activities we engage in. Focusing single player computer games and situating within the emerging field of computer game studies, this dissertation starts from the assumption that emotions are always already intertwined with the experience of play and proceeds to describe, not any idiosyncratic emotional experience, but the means by which games can ensure their contents to be involved in players' emotions.
Emotions are taken as intentional, as always about something. From this premise follows that to understand an emotion it is necessary to understand the reasons the subject has for relating to the object of the emotion in the particular way. Building on game studies, existential phenomenology, and philosophy of technology, this dissertation postulates a first person perspective from which to describe solitary computer game play and the emotions it involves in terms of their experienced signicance. From describing the freedoms and responsibilities imposed by the materiality of the computer game artefact on its voluntary player, the gameplay condition emerges as an intersubjective baseline for the players' judgements about events, objects, and states of aairs in the game, potentially surfacing as emotions.
Rather than being explained in terms of their rules, computer games appear as technological artefacts which simultaneously extend the concrete limitations against which their human players are free to realize their projects, and shape the ways in which human mind can be directed at aspects of the world. However, this can go on only as long as long as the player fulfills the requirements of which the gameplay condition comprises. Based on this condition, game artefacts can be described as standing out from among all other technological artefacts which co-shape human intentionality. By the conduct of emotional investment, the dissertation describes how voluntary players can end up experiencing emotions about aspects which would most likely seem trivial from a non-player's perspective.
Finally, the dissertation postulates an experiential ontology of computer game content, distinguishing between game content that is undeniable: crucial in terms of fullling the gameplay condition, and deniable: game content whose taking seriously is mostly voluntary. Thus, undeniable game content can be safely assumed as being involved in the emotions' of all players.