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      “Enheduanna—A Manifesto of Falling” Live Brain-Computer Cinema Performance: Performer and Audience Participation, Cognition and Emotional Engagement Using Multi-Brain BCI Interaction

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          Abstract

          The fields of neural prosthetic technologies and Brain-Computer Interfaces (BCIs) have witnessed in the past 15 years an unprecedented development, bringing together theories and methods from different scientific fields, digital media, and the arts. More in particular, artists have been amongst the pioneers of the design of relevant applications since their emergence in the 1960s, pushing the boundaries of applications in real-life contexts. With the new research, advancements, and since 2007, the new low-cost commercial-grade wireless devices, there is a new increasing number of computer games, interactive installations, and performances that involve the use of these interfaces, combining scientific, and creative methodologies. The vast majority of these works use the brain-activity of a single participant. However, earlier, as well as recent examples, involve the simultaneous interaction of more than one participants or performers with the use of Electroencephalography (EEG)-based multi-brain BCIs. In this frame, we discuss and evaluate “Enheduanna—A Manifesto of Falling,” a live brain-computer cinema performance that enables for the first time the simultaneous real-time multi-brain interaction of more than two participants, including a performer and members of the audience, using a passive EEG-based BCI system in the context of a mixed-media performance. The performance was realised as a neuroscientific study conducted in a real-life setting. The raw EEG data of seven participants, one performer and two different members of the audience for each performance, were simultaneously recorded during three live events. The results reveal that the majority of the participants were able to successfully identify whether their brain-activity was interacting with the live video projections or not. A correlation has been found between their answers to the questionnaires, the elements of the performance that they identified as most special, and the audience's indicators of attention and emotional engagement. Also, the results obtained from the performer's data analysis are consistent with the recall of working memory representations and the increase of cognitive load. Thus, these results prove the efficiency of the interaction design, as well as the importance of the directing strategy, dramaturgy and narrative structure on the audience's perception, cognitive state, and engagement.

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          Compressive Sensing [Lecture Notes]

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            Gamma oscillations correlate with working memory load in humans.

            Functional imaging of human cortex implicates a diverse network of brain regions supporting working memory - the capacity to hold and manipulate information for short periods of time. Although we are beginning to map out the brain networks supporting working memory, little is known about its physiological basis. We analyzed intracranial recordings from two epileptic patients as they performed a working memory task. Spectral analyses revealed that, in both patients, gamma (30-60 Hz) oscillations increased approximately linearly with memory load, tracking closely with memory load over the course of the trial. This constitutes the first evidence that gamma oscillations, widely implicated in perceptual processes, support the maintenance of multiple items in working memory.
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              OpenViBE: An Open-Source Software Platform to Design, Test, and Use Brain–Computer Interfaces in Real and Virtual Environments

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                Author and article information

                Contributors
                Journal
                Front Neurosci
                Front Neurosci
                Front. Neurosci.
                Frontiers in Neuroscience
                Frontiers Media S.A.
                1662-4548
                1662-453X
                03 April 2018
                2018
                : 12
                : 191
                Affiliations
                [1] 1Interactive Filmmaking Lab, School of Computing and Digital Technologies, Staffordshire University , Stoke-on-Trent, United Kingdom
                [2] 2Perception Action Cognition Lab, School of Psychology, University of Glasgow , Glasgow, United Kingdom
                [3] 3School of Simulation and Visualisation, Glasgow School of Art , Glasgow, United Kingdom
                Author notes

                Edited by: Fivos Panetsos, Complutense University of Madrid, Spain

                Reviewed by: Jing Jin, East China University of Science and Technology, China; Celia Herrera-Rincon, Tufts University, United States

                *Correspondence: Polina Zioga polina.zioga@ 123456staffs.ac.uk

                This article was submitted to Neuroprosthetics, a section of the journal Frontiers in Neuroscience

                Article
                10.3389/fnins.2018.00191
                5891608
                9d9f5347-5ea7-4417-9e62-9cc667183d0e
                Copyright © 2018 Zioga, Pollick, Ma, Chapman and Stefanov.

                This is an open-access article distributed under the terms of the Creative Commons Attribution License (CC BY). The use, distribution or reproduction in other forums is permitted, provided the original author(s) and the copyright owner are credited and that the original publication in this journal is cited, in accordance with accepted academic practice. No use, distribution or reproduction is permitted which does not comply with these terms.

                History
                : 18 October 2017
                : 09 March 2018
                Page count
                Figures: 6, Tables: 4, Equations: 0, References: 33, Pages: 13, Words: 7945
                Categories
                Neuroscience
                Original Research

                Neurosciences
                live brain-computer cinema performance,brain-computer interface (bci),multi-brain interaction,electroencephalography (eeg),performer,audience participation,attention,emotional engagement

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