Oynamak Ciddi Bir İştir: Gadamer Açısından Oyun ve Video Oyunları

Oyun, yaşantımızla iç içe olan, kendi varlık alanına, nesnelerine ve kuralla-rına sahip bir etkinliktir. Video oyunlarını anlamlandırmak ve değerlendirmek için Herakleitos’un fragmanlarından başlayarak oyuna ontolojik, kültürel, sosyal ve psikolojik perspektiflerden yaklaşan düşünürlerin görüşlerinin incelenmesi önemlidir. Bu düşünürler arasından Huizinga’ya atıfla Kant ve Heidigger pers-pektifini devam ettirdiğini söyleyebileceğimiz ve eserinde estetiğe dair incele-mesi bağlamında özellikle sanat dünyasındaki oyunu çözümlemeyi hedefleyen bir değerlendirmeye tabi tutması dolayısıyla Gadamer’in oyun hakkındaki gö-rüşlerinin değerlendirilmesi çalışmanın odağındadır. Gadamer oynamayı, yani oyun ve oyuncunun “bir” olduğu zamanı anlamak maksadıyla hareket eder. Vi-deo oyuncusu da temelde diğer oynayanlardan farksız olarak deneyimin peşin-dedir. Ancak, video oyuncusu bilgisayar unsurları üzerinden diğer oyunlardaki araçların temsilleriyle etkileşimde bulunarak bir sanal kurgu deneyimlemekte-dir. Teknoloji ve tasarımın etkileri dolayısıyla günümüzde “neden oynarım” so-rusunun daha ziyade “oyunu nasıl daha iyi deneyimlerim”e evirildiği de görüle-bilmektedir. Teknoloji ve tasarım unsurlarını kullanan oyuncunun deneyimi odağa yerleşmekte ve oyun endüstrisinin ekonomik yanıyla da şekillendirilmek-tedir. Bu ise çalışmamızda izah edilmeye çalışılan “oynama” durumunun mese-lenin merkezine yerleşmesi ve Gadamer’in perspektifinin teyidi manasına gel-mektedir.

Play is a Serious Business: Play and Video Games from Gadamer’s Perspective

Play is an activity that has been intertwined with our lives and has its area of existence, objects, and rules. To understand and evaluate video games, it is important to examine the views of other thinkers who approach the play from ontological, cultural, social and psychological perspectives starting from Heraclitus' fragments. The focus of this study is on the evaluation of Gada-mer's views on the play, as we can say that among the relevant thinkers, he maintains the perspective of Kant and Heidegger regarding Huizinga. Besides, in the context of his study of aesthetics in his work, he is subjected to an evalu-ation aimed at analyzing especially the play in the art world. Gadamer acts to understand playing, that is, the time when the play and the player is “one”. Like any other gamer, video game player also basically pursues the experience. How-ever, the video game player experiences a virtual fiction by interacting with the representations of tools in other games through computer elements. Due to the effects of technology and design, the question of “why do I play?” is now evolved into "how do I experience the game better?”. The player's experience is also focused and shaped due to the economic side of the gaming industry among other variables. This means that the “play”, which is tried to be ex-plained in our study, is placed at the center of the issue and confirmation of Gadamer's perspective.

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Kaynak Göster