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Publicação
Ludo-estética
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Orientador(es)
Resumo(s)
A presente tese tem como objectivo demonstrar a ligação entre o jogo e a arte e as suas
consequências ontológicas e estéticas, únicas dessa ligação.
Primeiro começo por analisar as definições clássicas de jogo como as de Huizinga ou Suits,
mostrando que não são capazes de alcançar o conceito de jogo na totalidade, pelo que proponho
uma definição de jogo que penso ser capaz de lidar com as diversas facetas do mesmo.
De seguida demonstro a forma como os jogos, especialmente os jogos de vídeo, podem ser
obras de arte, mostrando as semelhanças ontológicas e estéticas entre os dois e demonstrando que
essas semelhanças fazem com que, pelo menos alguns, jogos sejam obras de arte. No entanto os
jogos trazem novas características à arte, nomeadamente, a interactividade e acção do jogador na
própria obra. Como consequência a obra de arte do jogo de vídeo é pensada como uma obra para a
qual o jogador necessita de contribuir, ontológica e esteticamente. Isto têm ainda uma consequência
única na experiência estética, a tripartição entre os criadores do jogo, os jogadores e os
espectadores. Abordo ainda a questão da narrativa nos jogos, na qual argumento que nem todos os
jogos são necessariamente uma narrativa, mas que qualquer jogo, mesmo não o sendo, pode dar
origem a uma narrativa.
Por fim, exponho as qualidades estéticas únicas dos jogos. Nomeadamente, a forma de nos
ligarmos com o jogo. A forma como os elementos estéticos tradicionais afectam a experiência ludoestética,
sendo uma forma de modular as nossas acções e escolhas. E finalmente, que existe uma
estética da escolha através de regras que ditam possibilidades, necessidades e impossibilidades
existentes nos mundos de possibilidades que são os jogos de vídeo.
thesis aims to demonstrate the link between game and art, and the ontological and aesthetic consequences of that connection. To do this I start by analyzing the classical definitions of game, like Huizinga or Suits, showing that they are not able to reach the concept of game in full, so I propose a definition of game that may be able to deal with the different facets of the concept. Then I demonstrate how games, especially video games, can be works of art, showing the ontological and aesthetic similarities between the two and demonstrating that these similarities make, at least some, games as works of art. However, games bring new features to art, especially the interactivity and player action in the work of art that the game is. As a result, the work of art of the video game is thought of as a work for which the player needs to contribute, ontological and aesthetically. This has a consequence in the aesthetic experience, namely, the triple division between the creators of the game, the players and the spectators. I also approach the question of narrative in games, in which I argument that while not every game is necessarily a narrative, but that any game, even if it's not one, can originate a narrative. Finally, I expose the unique aesthetic qualities of the games. The way of connecting ourselves to the game. How the traditional aesthetic elements affect the ludo-aesthetic experience to modulate our actions and choices. And finally, that there is an aesthetic of choice, using rules that dictate the possibilities, necessities and impossibilities in the worlds of possibilities that are video games.
thesis aims to demonstrate the link between game and art, and the ontological and aesthetic consequences of that connection. To do this I start by analyzing the classical definitions of game, like Huizinga or Suits, showing that they are not able to reach the concept of game in full, so I propose a definition of game that may be able to deal with the different facets of the concept. Then I demonstrate how games, especially video games, can be works of art, showing the ontological and aesthetic similarities between the two and demonstrating that these similarities make, at least some, games as works of art. However, games bring new features to art, especially the interactivity and player action in the work of art that the game is. As a result, the work of art of the video game is thought of as a work for which the player needs to contribute, ontological and aesthetically. This has a consequence in the aesthetic experience, namely, the triple division between the creators of the game, the players and the spectators. I also approach the question of narrative in games, in which I argument that while not every game is necessarily a narrative, but that any game, even if it's not one, can originate a narrative. Finally, I expose the unique aesthetic qualities of the games. The way of connecting ourselves to the game. How the traditional aesthetic elements affect the ludo-aesthetic experience to modulate our actions and choices. And finally, that there is an aesthetic of choice, using rules that dictate the possibilities, necessities and impossibilities in the worlds of possibilities that are video games.
Descrição
Palavras-chave
Jogo (Filosofia) Arte - Filosofia Estética Teses de mestrado - 2018