The prefix 're-' holds a mighty standing in the modern times. With every email it comes as an abbreviation for reply, while 're-' placed in front of many words supposes a return, or a repetition.
In fact one can struggle somewhat to define 're-' without relying on 're-' itself. In many instances 're-' is an expression of applied will; a conscious act.
This act is replete throughout the history of the arts. Artists from all times continue to explore what at best appears to be the thorough investigation of Re. Artists re-map, re-configure, re-purpose, re-mix, re-act, re-define, re-constitute and re-play.
And play is a crucial word here.
As the video game industry has boomed in recent years, games themselves have now come under close scrutiny of the academic eye. Artists continue to use game elements in their work. But while the games medium seeks to demand respect as itself a 'fine art', much philosophy is bubbling up around the idea of play, it's importance not only in games; play is increasingly being recognised as a core facet in everyday human life.
The exploration of the so-called 'art-games' have been afforded little inspection over recent years - perhaps the closest to the mark is Ian Bogost's Persuasive Games (MIT Press, 2007) - but here, in Mary Flanagan's new book Critical Play, this close magnification on how play has shaped and influenced art for years finally comes to bear.
