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Book description
Book description
Ian Bogosts Play Anything is a book about how play emerges from the limits in the world around us. Ian introduces the world as a giant playground waiting to be discovered, ironoia as the mistrust of things and thus a barrier to emergent play, fun as the novelty and play as emergent quality of things (not of us, individuals), and discusses emergent fun as an opposite of happiness. Overall, this is the worst book Ive read from Ian Bogost--there is little structure, much negative tone without much logical argument, and limited novelty.Ive liked in this book the creation of ironoia as the mistrust of things (think paranoia, mistrust of people or systems of people) and the numerous references (albeit, not truly novel). Ive disliked so many things:1. Limited novelty: I found myself asking what can one learn from this book. In terms of playing anything, anywhere, despite Ian Bogosts quick dismissal, the concept has already been introduced by Miguel Sicart in Play Matters. I also cant stop thinking Raph Koster has already addressed the concept of fun in his A Theory of Fun, going deeper, broader, and more humanely about it than what I am reading here. (Theres also Bernard De Koven.) Here are the key concepts discussed extensively in this book, in my view without the author adapting or improving on them: play from Johan Huizinga; simple living from Henry David Thoreaus Walden; optimism from Ralph Waldo Emerson (1836 essay Nature) and Henry David Thoreau; freeplay from Jacques Derrida; creativity from Alfred North Whitehead (1926 Religion in the making and 1929 Process and reality); self-reliance, self-help from Norman Vincent Peale (1952 book The Power of Positive Thinking); flow from Mihalyi Csikszentmihalyi; working for the social good from David Foster Wallace; loss of children play from Peter Gray; paradox of choice from Barry Schwartz; digital devices dehumanize us from Sherry Turkle (but not Dan Tapscott); Easterlin paradox of happiness increasing with earning only to a point and Daniel Kahnemans adaggio; spend on experiences, not things from Thomas Gilovich; experiential goods that facilitate activities from Darwin A. Guevarra and Ryan T. Howell; affordances and constraints as keys of user-centered design from Donald Norman; happiness from Sonja Lyubomirsky.2. Loosely structured, poorly written: the book should have been rigorously edited, so that its core is not lost in rambling text lacking structure. For example, I almost lost the key thesis, which is now buried on page 151:Today, we have the opportunity to restructure parts of our lives to focus more on constraint and less on restraint. Instead of seeing freedom as an escape from the chains of limitation, we need to interpret it as an opportunity to explore the implications of inherited or invented constraints. I also almost missed an important reason for writing this book, which is thinking about his fathers approach to life:We could all benefit by being reared by the blind.writes Ian Bogost, after explaining how his father went nearly blind in a car accident. With all due respect, I dont think so. 3. Violent rhetoric: out of nothing, the book turns at times violent in its rhetoric, borrowing activist terms and attitudes. Think authentic, distortion, entitled, framing, irony, lens, scaffolding, and vibrant. After spending nearly thirty pages rejecting irony, Ian Bogost uses it to bash Miguel Sicart; fascism is mentioned. One page later, it is Mary Flanagans turn to get some passive-aggressive discourse, regarding unplaying and subversive play: Materials are harder to subvert than skip-deep opposition might suggest. (Or maybe its Yoko Ono and her White Chess Set.)
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