By Gwen Gordon
Gwen Gordon began her career building Muppets for Sesame Street. She has been an artist-in-residence in settings ranging from the MIT Media Lab to San Quentin Prison. Gwen has taught transpersonal trick to graduate students at the Institute for Transpersonal Psychology, Holy Names University, Saybrook Institute, and raw(a) College and teaches regularly at Spirit Rock Meditation Center. She co-designed and currently leads the mastery-level coaching course for the Coaches Training Institute. Gwen also leads the CTI leadership training. She is a creative consultant, educational designer, and freelance writer, and has had an individual coaching utilisation for ten years. Gwen received her masters degree in philosophy and religion at the California Institute for constitutive(a) Studies. Summary The ambiguous, variable, and paradoxical nature of the add concept is so widely accepted, that most play theorists consider the search for a universal definition to be pure folly. In attractive such folly, this article offers a post-rational definition of play within a broader framework that unites the paradoxes and inconsistencies associated with play.
In doing so, it provides a lens by dint of which we can appreciate the evolutionary, transformative nature of play as it exists at all scales of the cosmos. The most irritating feature of play is not the perceptual incoherence, as such, but rather, that play taunts us with its inaccessibility. We face that something is behind it all, but we do not know, or ca-ca forgotten how to see it. Robert Fageni Introduction There are few subjects that have been poked and prodded by as many disciplines as play has. And, like the famous blind men describing their limited portion of the elephant, each discipline has come to a different polish about the nature of play. The entertainment examined by scholars of leisure studies seems to be in an entirely different
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