Brain-controlled cinematic interactions

Interactive films have been around for almost a century, yet they have suffered repeatedly from critical, commercial and interactional failings. We propose that brain-computer interfaces can offer interactions with narratives and encourage cinematic engagement by minimising active control. We ask what are the problems inherent to interactive cinema? Can real-time interactions via a brain-computer interface (BCI) construct cinematic content? And how do groups of individuals experience brain-controlled cinema designed for individual, shared or distributed control? Our review of related work motivates the interactional choice of using Passive BCI with real-time cinematic construction to synchronise rhythms of the viewers blinking, Attention and Meditation to the rhythms of cinema. We use the Performance Led Research in-the-Wild methodology to probe public deployments of our films, and we describe user interactions in-the-Wild during screenings of multiple designs of two interactive films: three single user, three multi user, and a live score performance. Our descriptions of BCI mappings to cinematic techniques and production strategies to produce interactive content efficiently contributes to the understanding of practical interactive cinema production. In our results we define 1) different stages of control; discovery, conscious and unconscious, 2) awareness of the affective loop, 3) a shifting prominence of engagement between the narrative, the visual qualities and the agency of users’ interactions. We offer a dynamic view of control; people’s experiences are shifting from awareness of their self, the film, and their control. Our hyper-scanning multi-user study introduces the concept of effects moving across groups, working together to produce engaging experiences, and instances of group members disrupting other’s experience by deciding to unilaterally take control of the film. Our discussion contributes to our understanding of passive interactions with narrative systems. Our research contributions include our insights into seven designs of two brain-controlled films. We define two taxonomies, of control and group control, and produce insights into value to audiences of brain-controlled films. We show the development of affective loops of physiological response and cinematic content, and provide new design directions and practical implications for interactive filmmakers

Brain-controlled cinematic interactions

Interactive films have been around for almost a century, yet they have suffered repeatedly from critical, commercial and interactional failings. We propose that brain-computer interfaces can offer interactions with narratives and encourage cinematic engagement by minimising active control. We ask what are the problems inherent to interactive cinema? Can real-time interactions via a brain-computer interface (BCI) construct cinematic content? And how do groups of individuals experience brain-controlled cinema designed for individual, shared or distributed control? Our review of related work motivates the interactional choice of using Passive BCI with real-time cinematic construction to synchronise rhythms of the viewers blinking, Attention and Meditation to the rhythms of cinema. We use the Performance Led Research in-the-Wild methodology to probe public deployments of our films, and we describe user interactions in-the-Wild during screenings of multiple designs of two interactive films: three single user, three multi user, and a live score performance. Our descriptions of BCI mappings to cinematic techniques and production strategies to produce interactive content efficiently contributes to the understanding of practical interactive cinema production. In our results we define 1) different stages of control; discovery, conscious and unconscious, 2) awareness of the affective loop, 3) a shifting prominence of engagement between the narrative, the visual qualities and the agency of users’ interactions. We offer a dynamic view of control; people’s experiences are shifting from awareness of their self, the film, and their control. Our hyper-scanning multi-user study introduces the concept of effects moving across groups, working together to produce engaging experiences, and instances of group members disrupting other’s experience by deciding to unilaterally take control of the film. Our discussion contributes to our understanding of passive interactions with narrative systems. Our research contributions include our insights into seven designs of two brain-controlled films. We define two taxonomies, of control and group control, and produce insights into value to audiences of brain-controlled films. We show the development of affective loops of physiological response and cinematic content, and provide new design directions and practical implications for interactive filmmakers

Contesting control: journeys through surrender, self-awareness and looseness of control in embodied interaction

As Human-Computer Interaction (HCI) engages with technologies that sense and actuate the body, there is a need to reconsider the human bodily experience. We present three case studies that each involve different forms of bodily experience: a breath-controlled amusement ride, a brain-controlled film, and an interactive musical duet with a physically actuated piano. We introduce a conceptual framework to describe how control becomes contested between human and computer in such experiences, using the three dimensions of: surrender of control, self-awareness of control, and looseness of control. We reveal how our experiences took users on journeys through control that traversed the space of these dimensions. We propose that our framework is not only relevant to playful cultural experiences, such as those charted in our case studies, but can also inform the design of embodied interaction more widely by emphasising the human experience of control when engaging with autonomous and bodily-focused systems, from future robots and vehicles to today’s gaze, speech and gestural interfaces

Neurosciences and Wireless Networks: The Potential of Brain-Type Communications and Their Applications

This paper presents the first comprehensive tutorial on a promising research field located at the frontier of two well-established domains, neurosciences and wireless communications, motivated by the ongoing efforts to define the Sixth Generation of Mobile Networks (6G). In particular, this tutorial first provides a novel integrative approach that bridges the gap between these two seemingly disparate fields. Then, we present the state-of-the-art and key challenges of these two topics. In particular, we propose a novel systematization that divides the contributions into two groups, one focused on what neurosciences will offer to future wireless technologies in terms of new applications and systems architecture (Neurosciences for Wireless Networks), and the other on how wireless communication theory and next-generation wireless systems can provide new ways to study the brain (Wireless Networks for Neurosciences). For the first group, we explain concretely how current scientific understanding of the brain would enable new applications within the context of a new type of service that we dub brain-type communications and that has more stringent requirements than human- and machine-type communication. In this regard, we expose the key requirements of brain-type communication services and discuss how future wireless networks can be equipped to deal with such services. Meanwhile, for the second group, we thoroughly explore modern communication systems paradigms, including Internet of Bio-Nano Things and wireless-integrated brain-machine interfaces, in addition to highlighting how complex systems tools can help bridging the upcoming advances of wireless technologies and applications of neurosciences. Brain-controlled vehicles are then presented as our case study to demonstrate for both groups the potential created by the convergence of neurosciences and wireless communications, probably in 6G. In summary, this tutorial is expected to provide a largely missing articulation between neurosciences and wireless communications while delineating concrete ways to move forward in such an interdisciplinary endeavor

PERFORMING INTERACTIVITY EFFECTIVELY: WORKING WITH ACTORS AS A WRITER-DIRECTOR OF A NARRATIVE INTERACTIVE SHORT FILM

The dissertation ‘Performing Interactivity Effectively: Working with Actors as a Writer-Director of a Narrative Interactive Short Film’ focusses on the importance of the role of a writer-director as an aid for actors of an interactive short film. To underline research, justify discussion points, and illustrate approaches, an interactive short film titled ‘A Slimming World’ was written, directed, and produced alongside the dissertation. This dissertation follows a chronological outline of research into and development of said interactive short film and aims to give practical and theoretical insights into the approach of working with actors and aiding them in the context of an interactive short film. Research into the roles of writers and directors, into interactivity, into approaching the writing of a script, preproduction, and production will be discussed and, further, exemplified by references to ‘A Slimming World’