2002
DOI: 10.1023/a:1016174116399
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Cited by 12 publications
(2 citation statements)
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“…), but at the same time, it must be structured in such a way that the player gets engaged in an experience beyond the game, which is an aesthetic experience. As defined by McLuhan (1964, in Rockwell, 2002, ''Games are popular art, collective, social reactions to the main drive or action of any culture. Games, like institutions, are extensions of social man and the body politic, as technologies are extensions of the animal organism.…”
Section: Defining Art Gamesmentioning
confidence: 99%
“…), but at the same time, it must be structured in such a way that the player gets engaged in an experience beyond the game, which is an aesthetic experience. As defined by McLuhan (1964, in Rockwell, 2002, ''Games are popular art, collective, social reactions to the main drive or action of any culture. Games, like institutions, are extensions of social man and the body politic, as technologies are extensions of the animal organism.…”
Section: Defining Art Gamesmentioning
confidence: 99%
“…Simulations share many aspects with games, but attempt to simplify dynamic systems that exist in the real world with a much greater degree of veracity (McCall, 2012, 2016). While scholars continue to disagree about the exact definition of what constitutes a game, simulation, play, or the ludic, most agree that games and simulations are more than just amusing pastimes (Caillois, 1961; Corbeil, 1999; Huizinga, 1970; McCall, 2016; O’Neil, Wainess, & Baker, 2005; Rockwell, 2002; Vowinckel, 2009). Since at least the end of the nineteenth century, toy manufacturers, educators, and doctors have recognized the significant value of games as forms of instruction (Hutchinson, 1908; McLoughlin Brothers, 1897; “Toys of War Wanted,” 1899).…”
mentioning
confidence: 99%