Some would say this— that the shared use-word is decep­tive— that play­ing music and play­ing games mean total­ly dif­fer­ent things. & I do think there’s some­thing inter­est­ing to tun­nel into here, name­ly the dif­fer­ence between aes­thet­ic play with its unspo­ken Many goals which may con­verge into an unspo­ken One— and game play with its explic­it­ly spo­ken One goal, which may be par­ti­tioned & micro­man­aged in terms of a man­age­able Many… […] This is part of why SHIFTING pos­si­bil­i­ty spaces are used in con­trast to straight up “pos­si­bil­i­ty spaces” — as long as the space is for­ev­er shift­ing, the par­tic­u­lar instance of it that we are expe­ri­enc­ing right now can­not be count­ed as a mere rep­e­ti­tion, and is always a unique nat­ur­al occurence. We must tune into the play expe­ri­ence, to expe­ri­ence even the same com­pu­ta­tion­al “game state” as two total­ly dif­fer­ent things when we encounter it at two dif­fer­ent times in our life… Allow our body to be the medi­um… […] Shift­ing pos­si­bil­i­ty spaces draw on the already very pop­u­lar “pos­si­bil­i­ty space” con­cept— but where­as pos­si­bil­i­ty spaces appear too often from the ‘glob­al’ (design­er) point of view, which deals with the Uni­ver­sal Set of the sit­u­a­tion, or the “space of all pos­si­ble _____ “, SPS can deal with the imme­di­ate sense of pos­si­bil­i­ty at play in the envi­ron­ment. A pos­si­bil­i­ty space is ful­ly spa­tial­ized. A shift­ing pos­si­bil­i­ty space allows for the imma­nent flow of time to enter its descrip­tion. […] All these prac­tices involv­ing free move­ment — PLAYSPACES — the ques­tion is to find the prac­tices that we LOVE and VALUE the most, and to NOT lim­it these to videogames— and to immerse our­selves in these prac­tices, to learn from them what we can, and the pos­si­bly, if we feel the desire to do so, to bring back our love of these things to games. To count aspects of the process­es in such a way that they can be com­put­ed with— but to not dis­re­spect that thing we came to love in the first place.. Not to gam­i­fy it, but rather to learn from it what a game actu­al­ly is, to learn its pat­tens of move­ment, the parts of the body and social milieu that it engages, et etc.