# To Do > [!multi-column] > >> [!bug] Overdue >> ```tasks >> not done >> (due before today) >> hide task count >> hide due date >> hide edit button >> short mode >> ``` > >> [!success] Today >> ```tasks >> not done >> (due on today) >> hide task count >> hide due date >> hide edit button >> short mode >> ``` > [!multi-column] > >> [!note] Current Papers >> ```dataview >> LIST WITHOUT ID file.link >> FROM #paper/current >> SORT file.ctime ASC >> ``` # Health Tracking > [!multi-column] > >> [!abstract] Weight Tracker >> ```tracker >> searchType: frontmatter >> searchTarget: weight >> folder: / >> line: >> title: "Weight Over Time" >> yAxisLabel: Weight (kg) >> lineColor: "#69b3a2" >> ``` > >> [!danger] Beer Tracker >> ```tracker >> searchType: frontmatter >> searchTarget: beer500ml >> folder: / >> line: >> title: "Weekly Beer Pattern (500ml bottles)" >> yAxisLabel: "Bottles" >> lineColor: "#ff6b6b" >> ``` >> >> ```tracker >> searchType: frontmatter >> searchTarget: beer500ml >> folder: / >> summary: >> template: "🍺 Weekly Beer Status:\n- Bottles this week: {{sum()}}/8\n- Remaining: {{8 - sum()}}\n- Standard drink equivalent: {{sum() * 1.52}}\n\n📊 Status: {{8 - sum() >= 0 ? '✅ On track!' : '⚠️ Over budget'}}\n\nℹ️ Quick Reference:\n1 bottle = 1.5 drinks\n2 bottles = 3 drinks\n3 bottles = 4.5 drinks (over limit)\n\n🎯 Session Targets:\n- Ideal: 2 bottles (3 drinks)\n- Max: 3 bottles (4.5 drinks)" >> style: "color:var(--text-normal); background-color: var(--background-secondary); padding: 10px; border-radius: 5px;" >> ``` # Notes > [!multi-column] > >> [!summary]- Created Today >> ```dataview >> LIST WITHOUT ID file.link >> FROM "" >> WHERE file.cday = this.file.day AND file.name != this.file.name >> SORT file.ctime ASC >> ``` > >> [!example]- Modified Today >> ```dataview >> LIST WITHOUT ID file.link >> FROM "" >> WHERE file.mday = this.file.day AND file.name != this.file.name AND file.cday != this.file.day >> SORT file.mtime ASC >> ``` > [!multi-column] > >> [!danger]- Created Yesterday >> ```dataview >> LIST WITHOUT ID file.link >> FROM "" >> WHERE file.cday = date(this.file.day-1) AND file.name != this.file.name >> SORT file.ctime ASC >> ``` > >> [!info]- Created Two Days Ago >> ```dataview >> LIST WITHOUT ID file.link >> FROM "" >> WHERE file.cday = date(this.file.day-2) AND file.name != this.file.name >> SORT file.ctime ASC >> ``` > [!multi-column] > >> [!abstract] Recent Thoughts >> ```dataview >> LIST WITHOUT ID file.link >> FROM #thought >> WHERE date(today) - file.cday <= dur(14 days) >> SORT file.ctime DESC >> ``` ## Quick Links > [!multi-column] > >> [!example] Quick Links >> ```dataview >> LIST WITHOUT ID file.link >> FROM #quicklink >> SORT file.cday DESC >> ``` # [[Scratch Pad]] [[Aspection in Allen Carlson's Aesthetics and the Environment]] # [[New version]] ### Section I: Carlson's Concept of Acts of Aspection 1. **[[Allen Carlson]] introduces [[the concept]] of "acts of aspection,"** which refers to [[the particular]] ways individuals engage with and perceive objects or environments based on their inherent characteristics. 1. He emphasises that our [[aesthetic appreciation]] is guided by these acts of aspection, which are informed by [[the nature]] of [[the object]] itself and [[our understanding]] of it. 2. Carlson states that "appreciation is a set of activities not only responsive to [[the object]] but incorporating knowledge of it as an essential component." 3. For instance, in art appreciation, different styles of art require different [[perceptual approaches]]. 4. Carlson states, "A different act of aspection is performed in connection with works belonging to different schools of art, which is why the classification of style is of the essence" (Carlson, Chapter 4, p. 42). 5. This highlights that understanding the type of artwork directs our attention to specific features relevant to that style. 2. **To illustrate this, Carlson contrasts Venetian and Florentine paintings.** 1. He explains, "Venetian paintings lend themselves to an act of aspection involving attention to balanced masses; contours are of no importance, for they are scarcely to be found. The Florentine school demands attention to contours; the linear style predominates" (Carlson, Chapter 4, p. 42). 2. In appreciating a Venetian painting, one focuses on the interplay of colours and the harmonious distribution of forms, whereas a Florentine painting requires attention to precise lines and defined shapes. 3. Ziff further illustrates this by noting, "I survey a Tintoretto, while I scan an H. Bosch. Thus I step back to look at the Tintoretto, up to look at the Bosch. Different actions are involved." 4. This example demonstrates how acts of aspection are tailored to the specific qualities of the artwork, guiding the observer's perceptual engagement. 3. **Carlson extends [[the concept]] of acts of aspection to [[the appreciation]] of natural environments.** 1. He suggests that just as different art styles necessitate specific [[perceptual approaches]], so too do different natural settings require distinct acts of aspection. 2. For example, "we must survey a prairie environment, looking at the subtle contours of the land, feeling the wind blowing across the open space, and smelling the mix of prairie grasses and flowers. But such an act of aspection has little place in a dense forest environment. Here we must examine and scrutinise, inspecting the detail of the forest floor, listening carefully for the sounds of birds, and smelling carefully for the scent of spruce and pine" (Carlson, Chapter 4, p. 50). 3. This comparison highlights that the environment itself dictates the appropriate method of engagement, focusing our senses on features pertinent to that setting. 4. Our knowledge of the specific environment informs these acts of aspection, allowing us to engage with it meaningfully. 4. **Understanding plays a crucial role in acts of aspection.** 1. Carlson argues that our knowledge of the object or environment informs how we engage with it aesthetically. 2. He notes that "in knowing the type we know what and how to appreciate" (Carlson, Chapter 4, p. 42). 3. In the context of art, understanding the medium, style, and historical background of a work guides our perception and interpretation. 4. Similarly, in natural environments, our knowledge of ecological features and processes shapes our sensory engagement. 5. Without such understanding, our experience would be, as Carlson describes, a "blooming, buzzing confusion," a mere "meld of physical sensations" without meaning or significance. 5. **Carlson distinguishes between different types of knowledge that inform acts of aspection.** 1. Common-sense knowledge encompasses everyday observations and practical understanding. 2. Scientific knowledge involves systematic study and insights into natural processes. 3. Artistic knowledge pertains to awareness of artistic techniques and historical developments. 4. These forms of knowledge collectively enhance our ability to perform appropriate acts of aspection, deepening our aesthetic appreciation by informing us what to focus on and how to engage with the object or environment. 5. As Carlson notes, "In knowing the type we know what and how to appreciate," and these forms of knowledge guide us in our perceptual engagement. ### Section II: Gardening as an Act of Creative Aspection 1. **In this section, we shall argue that the actions involved in gardening can be thought of as particular types of acts of aspection.** 1. Unlike the types of aspection we've just looked at, these acts are what we might call acts of creative aspection, in that they involve the appreciation of something by using that something to create something else. 2. Gardening requires us to engage directly with the natural environment, responding to its inherent qualities through active participation. 3. In gardening, we follow the lead of the natural environment, adapting our actions in response to its autonomous qualities, which aligns with Carlson's emphasis on object-oriented appreciation. 2. **The physical actions involved in gardening—such as planting, pruning, weeding, and soil cultivation—are analogous to acts of aspection because they necessitate a perceptual and sensory engagement with the environment.** 1. Just as Carlson describes different environments requiring specific acts of aspection, gardening involves adapting our actions to the particular conditions of the garden. 2. For instance, tending to a vegetable garden demands attention to soil fertility, moisture levels, and sunlight exposure, whereas cultivating a flower garden might focus on colour combinations, bloom timings, and fragrance. 3. Similarly, different types of gardens necessitate distinct gardening actions informed by our understanding of the plants and environmental conditions, paralleling the need for specific acts of aspection in different environments. 4. These activities require us to observe and respond to the unique characteristics of our gardening environment. 3. **Gardening also involves rich sensory feedback that parallels Carlson's environmental aspection examples.** 1. When gardening, we feel the texture and moisture of the soil, notice the growth patterns of plants, and observe the interplay of light and shade. 2. We might listen to the rustling of leaves or the buzzing of pollinators, and smell the earthy aroma of freshly turned soil or the scent of blossoms. 3. This immersive sensory engagement aligns with Carlson's suggestion that we should experience nature not as an unobtrusive background, but as an obtrusive foreground. 4. As John Dewey notes, "The live animal is fully present, all there, in all of its actions... All senses are equally on the qui vive." 5. These sensory experiences are integral to the gardening process, just as they are in Carlson's examples of surveying a prairie or examining a forest floor. 6. Our actions are guided by these sensory inputs, enabling us to perform acts of aspection that are responsive to the environment. 4. **Knowledge plays a significant role in shaping our gardening actions and the acts of aspection we perform.** 1. Understanding horticulture, botany, and ecology informs our decisions and enhances our engagement. 2. For example, knowing the specific nutrient requirements of certain plants guides how we fertilise the soil, and understanding pest life cycles influences our approach to pest management. 3. This knowledge informs our acts of aspection in gardening, allowing us to focus on relevant aspects of the garden environment and to engage with it effectively. 4. This knowledge allows us to appreciate the complexities of the garden ecosystem and to interact with it more effectively. 5. Carlson's view that "in knowing the type we know what and how to appreciate" applies here, as our understanding directs our focus and enriches our aesthetic experience. 5. **A key difference between gardening and Carlson's examples is that gardening is a creative act of aspection that leads to the creation or alteration of the appreciated object.** 1. While Carlson's acts of aspection in natural environments involve appreciating without necessarily changing the environment, gardening inherently involves modifying the landscape. 2. By planting new species, pruning existing plants, or designing garden layouts, we actively shape the environment. 3. Unlike imposing art-specific appreciation methods onto nature, gardening involves a partnership with nature, emphasizing adaptation and response over control, which resonates with Carlson's caution against inappropriate assimilation. 4. This creative engagement adds a layer of appreciation, as we not only perceive but also contribute to the beauty of the garden. 6. **Gardening can be framed as an art form that allows for simultaneous creation and appreciation.** 1. Unlike painting or writing, where the act of creation is separate from the act of appreciation, gardening blends the two processes. 2. As we cultivate the garden, we are both creators and observers, experiencing the evolving aesthetic qualities firsthand. 3. Moreover, gardening does not involve creation ex nihilo; instead, we collaborate with nature's existing materials and processes. 4. This partnership with nature emphasises the autonomous qualities of the environment, requiring us to adapt and respond rather than exert complete control. 5. This aligns with Carlson's emphasis on knowledge-guided appreciation and the performance of acts of aspection. 6. In this way, gardening follows the lead of the natural environment, adhering to Carlson's principle of object-oriented appreciation, where our actions are guided by the nature of the object itself. # Older version 1. 1. Allen Carlson introduces the concept of "acts of aspection," which refers to the particular ways individuals engage with and perceive objects or environments based on their inherent characteristics. 2. He emphasises that our aesthetic appreciation is guided by these acts of aspection, which are informed by the nature of the object itself and our understanding of it. 3. Carlson states that "appreciation is a set of activities not only responsive to the object but incorporating knowledge of it as an essential component." 4. For instance, in art appreciation, different styles of art require different perceptual approaches. e. Carlson states, 5. "A different act of aspection is performed in connection with works belonging to different schools of art, which is why the classification of style is of the essence" (Carlson, Chapter 4, p. 42). 6. This highlights that understanding the type of artwork directs our attention to specific features relevant to that style. --- # Detailed Report of Revisions In revising your draft, I focused on enhancing the discussion of aspection by integrating relevant insights from Carlson's views, as outlined in the guide. The goal was to deepen the analysis without altering the original structure or introducing irrelevant information. Below is a paragraph-by-paragraph account of the changes made, with explanations for each addition. --- **Paragraph 1:** - **Addition:** _"and our understanding of it. Carlson states that 'appreciation is a set of activities not only responsive to the object but incorporating knowledge of it as an essential component.'"_ **Explanation:** I included this to emphasize Carlson's point that knowledge is essential in guiding acts of aspection. By highlighting that appreciation involves both responsiveness to the object and incorporation of knowledge, we reinforce the idea that understanding the object's nature is crucial for appropriate aesthetic engagement. **Original Text:** Discussed Carlson's concept of acts of aspection and how they are informed by the object's characteristics. **Reasoning:** By adding Carlson's quote about appreciation incorporating knowledge, we deepen the understanding of how acts of aspection are not just perceptual but also informed by our knowledge. --- **Paragraph 2:** - **Addition:** _"Ziff further illustrates this by noting, 'I survey a Tintoretto, while I scan an H. Bosch. Thus I step back to look at the Tintoretto, up to look at the Bosch. Different actions are involved.'"_ **Explanation:** This quote from Ziff, cited by Carlson, exemplifies how different artworks demand different acts of aspection based on their styles. Including it provides a concrete example of how our perceptual approach varies with different art forms, reinforcing the argument. **Original Text:** Compared Venetian and Florentine paintings to illustrate different acts of aspection. **Reasoning:** By incorporating Ziff's vivid description, we add depth to the discussion and show how acts of aspection involve specific physical actions informed by the artwork's style. --- **Paragraph 3:** - **Addition:** _"Our knowledge of the specific environment informs these acts of aspection, allowing us to engage with it meaningfully."_ **Explanation:** This sentence connects the concept of acts of aspection in natural environments to the role of knowledge. It underscores that understanding the environment guides our sensory engagement and makes our appreciation meaningful. **Original Text:** Described how different natural settings require distinct acts of aspection. **Reasoning:** By explicitly mentioning the role of knowledge, we align this paragraph with Carlson's emphasis on knowledge informing how we appreciate nature. --- **Paragraph 4:** - **Addition:** _"Without such understanding, our experience would be, as Carlson describes, a 'blooming, buzzing confusion,' a mere 'meld of physical sensations' without meaning or significance."_ **Explanation:** Including Carlson's description of a "blooming, buzzing confusion" illustrates the necessity of understanding in avoiding meaningless sensory overload. It highlights the importance of knowledge in structuring our aesthetic experience. **Original Text:** Discussed the crucial role of understanding in acts of aspection. **Reasoning:** By adding Carlson's vivid metaphor, we make a stronger case for why knowledge is essential in guiding appropriate acts of aspection. --- **Paragraph 5:** - **Addition:** _"As Carlson notes, 'In knowing the type we know what and how to appreciate,' and these forms of knowledge guide us in our perceptual engagement."_ **Explanation:** This ties back to Carlson's assertion about the role of knowledge in determining what and how to appreciate. It reinforces the idea that different types of knowledge enhance our ability to perform appropriate acts of aspection. **Original Text:** Outlined the types of knowledge that inform acts of aspection. **Reasoning:** By reiterating Carlson's point, we emphasize the connection between knowledge and perceptual engagement, showing how they collectively deepen aesthetic appreciation. --- **Paragraph 6:** - **Addition:** _"In gardening, we follow the lead of the natural environment, adapting our actions in response to its autonomous qualities, which aligns with Carlson's emphasis on object-oriented appreciation."_ **Explanation:** This addition links gardening to Carlson's concept of object-oriented appreciation. It highlights that in gardening, we respond to the inherent qualities of nature, adapting our actions accordingly. **Original Text:** Introduced the idea of gardening as acts of creative aspection. **Reasoning:** By making this connection explicit, we strengthen the argument that gardening is a form of aspection guided by the nature of the object, consistent with Carlson's views. --- **Paragraph 7:** - **Addition:** _"Similarly, different types of gardens necessitate distinct gardening actions informed by our understanding of the plants and environmental conditions, paralleling the need for specific acts of aspection in different environments."_ **Explanation:** This sentence draws a parallel between the need for specific acts of aspection in different environments and the distinct actions required in various types of gardening. It emphasizes that our understanding informs these actions. **Original Text:** Discussed how physical actions in gardening are analogous to acts of aspection. **Reasoning:** By highlighting this parallel, we illustrate how gardening actions are tailored to specific conditions, reinforcing the analogy to acts of aspection informed by knowledge. --- **Paragraph 8:** - **Addition:** _"This immersive sensory engagement aligns with Carlson's suggestion that we should experience nature not as an unobtrusive background, but as an obtrusive foreground. As John Dewey notes, 'The live animal is fully present, all there, in all of its actions... All senses are equally on the qui vive.'"_ **Explanation:** Including Carlson's idea of experiencing nature as an obtrusive foreground and Dewey's insights about full sensory engagement enriches the discussion. It connects the sensory aspects of gardening to broader philosophical concepts. **Original Text:** Described the rich sensory feedback involved in gardening. **Reasoning:** By adding these references, we deepen the analysis of sensory engagement in gardening, showing how it aligns with philosophical perspectives on experiencing nature. --- **Paragraph 9:** - **Addition:** _"This knowledge informs our acts of aspection in gardening, allowing us to focus on relevant aspects of the garden environment and to engage with it effectively."_ **Explanation:** This addition emphasizes that knowledge not only shapes our actions but specifically informs our acts of aspection. It links the practical knowledge in gardening to the conceptual framework of aspection. **Original Text:** Highlighted the role of knowledge in shaping gardening actions. **Reasoning:** By making this connection explicit, we show how understanding enhances our ability to perform appropriate acts of aspection, aligning with Carlson's emphasis on knowledge-guided appreciation. --- **Paragraph 10:** - **Addition:** _"Unlike imposing art-specific appreciation methods onto nature, gardening involves a partnership with nature, emphasizing adaptation and response over control, which resonates with Carlson's caution against inappropriate assimilation."_ **Explanation:** This contrasts gardening with the inappropriate application of art appreciation methods to nature, as cautioned by Carlson. It underscores that gardening respects the autonomy of nature, aligning with his views. **Original Text:** Discussed how gardening is a creative act that alters the appreciated object. **Reasoning:** By highlighting this distinction, we address potential criticisms and show that gardening aligns with Carlson's principles by avoiding inappropriate assimilation. --- **Paragraph 11:** - **Addition:** _"In this way, gardening follows the lead of the natural environment, adhering to Carlson's principle of object-oriented appreciation, where our actions are guided by the nature of the object itself."_ **Explanation:** This sentence reiterates that gardening adheres to Carlson's concept of object-oriented appreciation. It emphasizes that our actions in gardening are guided by the nature of the environment, reinforcing the alignment with his philosophy. **Original Text:** Framed gardening as an art form blending creation and appreciation. **Reasoning:** By explicitly connecting gardening to object-oriented appreciation, we conclude the argument by showing that gardening embodies the principles of aspection as outlined by Carlson. --- **Overall Approach:** - **Maintained Structure:** The original order and structure of the draft were preserved. Additions were made within existing paragraphs to enhance clarity and depth without disrupting the flow. - **Selective Quotations:** Only relevant quotes from Carlson and Dewey were included. These quotations directly supported and clarified the points being made, ensuring they were pertinent to the arguments. - **Focused Additions:** All additions were directly connected to the topic of aspection and gardening. Irrelevant details from the guide were omitted to maintain coherence and relevance. - **Enhanced Arguments:** Each addition aimed to make the argument that gardening actions are acts of aspection more convincing. By integrating Carlson's insights, the discussion was deepened, providing a stronger foundation for the claims. - **Consistency with Guidelines:** Care was taken not to add any irrelevant information, alter the structure, or introduce unnecessary detail. The focus remained on bolstering the existing arguments with pertinent information from Carlson's views on aspection. # Translation of Alessio's draft ## Chapter 1: Nguyen's Theory 1.1. Striving Games 1.2. Harmonies as a Source of Game Appreciation ## Chapter 2: Bartel's Theory 2.1. Exposition of Bartel's Theory 2.2. Adaptation of Bartel's Theory, Focus on Games ## Chapter 3: Games Based on Moral Choices *(provisional title)* 3.1. What Are Games Based on Moral Choices? 3.2. Reasons Why Bartel Cannot (Fully) Account for Games Based on Moral Choices ## Chapter 4: Aesthetics of Games Based on Moral Choices 4.1. Moral Harmony 4.2. Emotional Harmony ## Chapter 1 This thesis sets as its primary objective the definition of games based on moral choices. Subsequently, we will illustrate the practices of appreciation surrounding these games, thus establishing an aesthetic framework for this new category of games. These questions will be explored in depth in the third and fourth chapters. The first two chapters will be dedicated to outlining two recently published theses, upon which my work will then be based. The thesis centers on games. The first step of any investigation is to define its object of research with some rigor. The first question therefore becomes: "What is a game?" To attempt to answer this question, let's think about how the term "play" is used in everyday language. What is it that is usually "played" or "being played"? In a country like Italy, football matches are played on a weekly basis. Similarly, one could say that volleyball, basketball, or tennis matches are played. There seems to be a strong overlap between games and sports. Yet, it would be unreasonable to maintain that all games are sports. In my family, during our Christmas Eve gathering, we traditionally play *sette e mezzo* (seven and a half). For those unfamiliar, it's a game very similar to blackjack. Each player receives a face-down card from the dealer, which only they can look at. Subsequently, they will be asked if they want another card. After receiving and looking at a new card, the player can decide whether to take another card, and so on. It's up to the player to decide when to stop receiving cards, keeping in mind the game's objective: to reach or get as close as possible to the value of seven and a half (cards in the deck are limited from ace to seven, face cards are worth half a point), without exceeding it. Once the desired value is reached, the turn passes to the next player, with the dealer playing last with face-up cards. Finally, all players reveal their cards to determine the winner. Although randomness carries different weight, we can still notice how both examples share many common characteristics. Both football and *sette e mezzo* present themselves as activities involving multiple parties, all intent on pursuing an objective. This objective acquires value by virtue of being achieved while considering certain limitations imposed by the rule system. In a football match, the team that manages to put the ball in the net more times wins, provided they don't touch it with their hands. In a game of *sette e mezzo*, the player with the highest card combination wins, provided the sum of values doesn't exceed seven and a half. We can deduce the following: **a game is an activity that involves pursuing an objective, moderated by a system of rules**. The definition just provided makes no claim to exhaustiveness, but for our purposes here, it is more than adequate. Proceeding with our dissertation, we will delve into the domain of aesthetics. Is a game capable of supporting an aesthetic experience? If so, by virtue of what peculiar characteristics? In part, these questions have been addressed by philosopher N. Chi Nguyen in the book "Games: Agency as Art". This will be our main theoretical reference point for this first chapter. Nguyen aims to provide a detailed account of the concept of game, understood as a human practice which, by virtue of appreciation practices exclusive to other media, is elevated to an autonomous art form. The author first delimits the scope of research. The theory provided does not aim to apply to all types of games, but exclusively to so-called "Suit's games". A milestone in game studies, Suits conceives of games as "the voluntary attempt to overcome unnecessary obstacles," effectively aligning with the definition already provided. In this theoretical framework, the ends pursued within a game have no intrinsic value. The end of a game acquires value by virtue of the obstacles imposed in achieving it. An example will help clarify the concept: It seems evident that repeatedly putting a ball through a suspended net, perhaps with the aid of a ladder, seems a senseless activity. However, this activity acquires value when the same action is contextualized within a basketball game, with all the obstacles it entails (for example, the obligation to dribble while moving). The author will therefore focus his analysis on those types of games that involve active effort by players, excluding, for example, games without a precise system of rules, built around make-believe (think, for instance, of the typical children's game of family, where each child interprets a family member without a precise purpose). Proceeding, Nguyen articulates the distinction between Achievement Player and Striving Player. This division is based on two different approaches to game practice: * Those who play driven by what follows from victory belong to the first category. The prize pool for the fifth edition of the Apex Legends Global Series amounts to $2,000,000. A team that would participate exclusively by virtue of the prize at stake would be a group of Achievement Players. * Another team, participating for the pure enjoyment of competition, would instead belong to the second category. Striving players are indeed those who strive to win, not for the extrinsic value of victory, but to enjoy the process necessary to achieve it. The distinction between Achievement Players and Striving Players is fundamental to demonstrating that games can be an art form and autonomous medium. It's worth dwelling further on the concept of "Striving game." This can be defined as the assumption of a provisional end, with the purpose of enjoying the process of reaching it. This practice constitutes a motivational inversion compared to everyday life. If usually means acquire value by virtue of their end, in Striving games the opposite occurs. For certain students, studying might not be a pleasant activity worth pursuing, but they study anyway by virtue of the degree they will obtain at the end of their education cycle. A very similar relationship exists between an employee and their salary. In these two cases, a means lacking intrinsic value (studying, working) is nevertheless chosen in view of an intrinsically valid end (the degree, the salary). Conversely, in a Striving game, we decide to pursue an end that lacks intrinsic value by virtue of the (in this case aesthetic) value of the means necessary to reach it. The aforementioned provisional ends are defined in contrast to long-term ends. Many of our daily activities are teleologically oriented toward pursuing our long-term ends (obtaining a degree, achieving results at work, cultivating personal relationships, pursuing happiness). During the execution of these activities, we are immersed in our everyday agency. "Agency" is a term difficult to define; in this context, it will be understood as the exercise of our consciousness in practical contexts. By contrast, provisional ends are assumed for a limited period, do not mark our daily activities, and are executed while we are immersed in an alternative agency. When we adopt this alternative agency, our practical reasoning is oriented toward pursuing the provisional end, momentarily forgetting any long-term end in the process. A further characteristic of provisional ends is that they cease to have value the moment they are achieved. Moreover, a provisional end can be abandoned immediately, without affecting the value system that guides our actions in everyday life. For the practice of Striving games to exist, it is necessary to demonstrate the existence of the human faculty to assume provisional ends. For this demonstration, we draw from the realm of bodybuilding, understood as a human practice that sees the pursuit of a pleasing body through weight training. For some, "having a pleasing body" might be a long-term end. However, during the execution of a specific exercise, we adopt a provisional end. Let's take a very common exercise, the barbell curl. This prescribes gripping a barbell with a supinated grip in front of oneself, then bringing the barbell toward one's shoulders without moving the elbows. During the execution of the exercise, the user will adopt an agency separate from the everyday, totally oriented toward the end "I must execute this movement ten times in the correct manner." During the activity (especially as fatigue increases), the external world, where we navigate with our ordinary agency, will be momentarily set aside. Certainly, one cannot deny that the momentary end kept in mind during the exercise is not preparatory to the long-term end. However, this is only a contingency. Nothing prevents me from using the same faculty for different ends. Just as I am able to be absorbed in a gym exercise for aesthetic purposes, I am perfectly capable of being absorbed in completing a level of Doom Eternal to enjoy the process. The practice of Striving play does not occur in the specific activity undertaken, but in the attitude with which it is executed. To aesthetically enjoy the process that will (eventually) lead us to victory, we must be able to immerse ourselves in an agency whose only interest is winning. To provide a clear explanation, it's worth dwelling on the relationship that binds the state of absorption, victory, and our agency. The relationship between the state of absorption and victory is very curious. It is total absorption that guarantees the aesthetic experience, but we cannot achieve it as long as we impose the objective of achieving it. It would seem extremely unnatural to try to reach the state of absorption by pursuing it directly. Imagine starting to play Mario Kart 8 Deluxe with the thought "now I'm going to get completely absorbed in the activity of playing." By doing so, we will never reach the desired state, as our attempt to reach it directly will keep us anchored to a non-absorbed state of consciousness. To be totally absorbed in our activity, we must impose on ourselves to achieve something else, in this case victory. We are faced with a particular situation, which requires us to aim at another end to achieve what we desire. Nguyen calls this type of end, not directly pursuable, a "Self-effacing end." As shown in the example, these characterize the practice of Striving play. Our total absorption during Striving play is evident from a series of behaviors. First and foremost, during a game activity, we aim for victory as if it were the only important thing. As already said, this is the necessary condition to properly engage in a game. For this to happen, we must be able to set aside our more conscious and rational part that is pursuing that pleasure found in the game, reaching total absorption in the activity. Should we fail to achieve this balance, we would find ourselves enacting a series of behaviors that we would never associate with well-executed game practice. For example, we might refuse to achieve victory at the most propitious moment, thinking, too rationally, of thus prolonging the pleasure we are drawing from the game. To clarify the concept, we'll take an example from Pokémon Black. As in previous chapters, one of the game's peak moments consists of beating the Pokémon League Champion hosted by the region. In this chapter, the region is Unova, and the champion to beat is called Alder. Imagine we're facing his last Pokémon, which is near death. Any offensive move would be enough to eliminate it and achieve victory, yet we decide to use a defensive move, procrastinating victory in the illusion of prolonging a bit more the pleasure we are drawing from that battle. In this example, our everyday agency is too cogent, thus preventing us from immersing ourselves in the type of agency required to properly engage in a striving game. At the same time, it seems evident how, even in a state of total absorption, our consciousness does not lose any type of connection with the world external to the game system. Very often, I find myself completely absorbed in playing competitive video game titles. In this case, we're talking about Overwatch 2. The game in question belongs to the first-person shooter category and sees two teams of five players each contending for a series of objectives in arenas. Considering that each character is equipped with a series of exclusive abilities, each match requires strategic reasoning and more mechanical skills, such as having good aim. Taking into account these characteristics, it's easy to understand how matches can become very engaging, easily allowing us to immerse ourselves in the type of agency required to be completely absorbed in the activity of playing. Yet, a simple stimulus, like a ringing phone, could remove us from that state. To recapitulate: Properly engaging in a game requires us to be totally absorbed in the activity of playing, adopting an agency separate from any other activity. At the same time, our ordinary agency continues to have a hold on us, pulling us away from our ludic activity should, for example, an emergency occur. The situation seems paradoxical at first glance. To engage in a striving game, we must be totally absorbed, without however losing all contact with the rest of the world. Nguyen finds a solution to this problem by suggesting a new capability of our agency. The latter would indeed be able to stratify. When we intend to approach a game, our ordinary agency stratifies, delegating the activity of playing to a more internal layer. The inner layer constitutes the agency we will adopt and that will guide our actions during the game. The latter presents itself with the ability to treat the provisional end of victory as if it were a long-term end, thus guaranteeing the much-desired state of absorption. At the same time, ordinary agency is set aside as the outer layer, without this losing its hold on our consciousness entirely. The outer layer of agency will indeed preserve the long-term ends to which we are usually bound, silencing them for the duration of the ludic activity. The existence of provisional ends and the stratification of agency together constitute the theoretical premises for striving play and its subsequent aesthetic appreciation.