This article examines the possibility of the futuristic assumption that the human mind will converge with artificial intelligence technology to create an enhancement of consciousness. By studying how a correlation between consciousness and the brain is made through visual tools that are used in neuroscience, this article elaborates on how these findings affect research that is done in philosophy on the concept of consciousness. This article proposes a new approach on studying the brain, by examining it as a theoretical object, which gives every research field the possibility to argue over the truth in the images that are created of the brain.
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Historical consciousness
Most film viewers know the experience of being deeply absorbed in the story of a popular film. It seems that at such moments they lose awareness of watching a movie. And yet it is highly unlikely that they completely ignore the fact that they watch a narrative and technological construction. Perhaps film viewers experience being in a story world while simultaneously being aware of its construction. Such a dual awareness would seem paradoxical, because the experience of the one would go at the cost of the other. We argue that the solution of this paradox requires dropping the notion of an undivided consciousness, and replacing it with one of consciousness as coming in degrees. In this chapter we present both cognitive and film-analytic arguments for differential awareness of story and narration/technology, and argue that a characteristic of absorption is to be found in story world super-consciousness.
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Within the framework of the “Greening Games” project, we will develop, test and distribute flagship didactic materials addressing the interdisciplinary nature of green digital gaming. These will be tested in selected higher education programs and finally shared as open access content for the broader academic and teaching community. It is our core strategic responsibility to educate students about the relations between digital games and environment. We believe that the more aware students of today will become greener game designers, programmers, and academic leaders of tomorrow. At the centre of our partnership’s didactic philosophy are human responsibility, ethical game design and sustainable gaming culture. Societal IssueVideo games serve as technological marvels and cultural reflections. McKenzie Wark suggests they are integral to a shared culture, fostering critical thinking. Games act as arenas for cultural values and environmental awareness. Climate-aware video games, often referred to as 'green games' or 'eco-games,' raise ecological consciousness and reconnect players with nature. For example, Riders Republic, which replicates real-world terrain using satellite imagery, inspires eco-awareness. However, the environmental footprint of video games, reliant on digital electronics and resource-intensive consoles, poses challenges. Developers, manufacturers, and gaming giants must address these impacts. Benjamin Abraham emphasizes sustainable game development as a holistic solution beyond incorporating green content.Benefit to societyBy developing teaching materials on green gaming for higher education, we create the following impact. We will…- increase the awareness of this subject among Bachelor’s and Master’s students.- enhance students’ knowledge of green gaming and their ability to integrate existing solutions into their game projects.- stimulate more research interest among research staff as well as students.- facilitate the uptake of pedagogical resources on green gaming by lecturers and professors.- create a European research community around the topic.- raise the visibility of green game studies among the game industry and wider public.
The primary objective of this research is to develop the new practical methodology of "Vocalising Resonance", as a development of existing methods. The approach intends to involve artists and citizens in a multi-sensory engagement with their surrounding environment, by collectively utilizing the 'physical', non-semantic voice as a tool for communication. This methodology's creation is rooted in the application of artistic research to well-formulated arguments within contemporary humanities studies. It also incorporates existing approaches for engaging with sound and voice in a multisensory and multidisciplinary manner. Musicologist, Nina Eidsheim argues that music research should not solely focus on the figure of sound, but should also delve into the materiality of sound as vibration (Eidsheim, Sensing Sound). Similarly, this research aims to explore the voice as an experience connected to the whole body and senses, rather than simply hearing. Several existing strategies offer starting points. The second objective of this research is to investigate how the proposed methodology of "Vocalising Resonance" may have a transformative impact on participants' consciousness, by increasing their exposure to diversity and facilitating their realisation that persons in the literal meaning of the word are “the speaking through - sonare + per- the masks that make up our social selves”(Scapp, A Question of Voice). Broadening the scope beyond traditional norms, the project paves the way for a more inclusive, sensorially rich understanding of performing arts, inviting a holistic approach that goes beyond typical categorisations, enhancing the immersive nature of performances. It prompts reflections on the significance of an audience to define a voice, the essence of a voice irrespective of language, and how the non-semantic use of voice serves as a powerful interdisciplinary communication tool within abstract performance contexts. This process seeks to offer a new perspective and transform our practices.
