Interaction Design for Audiences: A Proposition for Building Resilience and Recovery for COVID-safe Independent Cinemas

As in the broader cultural sector, COVID-19 has created unprecedented challenges for cinema exhibitors in the UK and worldwide. Venues have been forced to close for months, operate with substantial uncertainty, or re-open with reduced capacity. Still, their position remains precarious and the challenges to the sustainability of the sector are ongoing: changing restrictions and associated increased costs, reduction in production and distribution pipelines. The British Film Institute highlighted that the pandemic poses an existential threat, especially to independent exhibitors and those operating in remote or deprived areas. Thus, COVID-19 has also highlighted existing inequalities, the digital divide, and the need to expand the audiences’ diversity. Meanwhile, in sectoral events, panels have reflected on how exhibitors and audiences have become more accustomed to accessing media experiences online, and how this new digital literacy will support cinemas’ efforts to attract cinemagoers in their reopening. Prior to COVID-19, the use of interaction design for new cinematic experiences had attracted the interest of festivals, filmmakers and researchers. In this position paper, we argue that interaction design and technologies can help independent cinemas to engage and galvanise new audiences to patronise COVID-safe venues. From low-end online platforms to high-end immersive experiences, new technologies are transforming connectivity across society, and have the potential to support access for D/deaf, neurodivergent, and disabled audiences, but adoption by exhibitors is so far limited. We outline the research needs and priorities in this field. These include identifying facilitators and obstacles to industry adoption of interactive forms, and mapping experiences and attitudes across the sector. Together with directions for immediate practical solutions, it is crucial to gather critical data for future research use, in order to pave the way for long-term solutions and design innovation, so that the sector can build resilience, recover and reach underserved audiences

Interaction Design for Audiences: A Proposition for Building Resilience and Recovery for COVID-safe Independent Cinemas

As in the broader cultural sector, COVID-19 has created unprecedented challenges for cinema exhibitors in the UK and worldwide. Venues have been forced to close for months, operate with substantial uncertainty, or re-open with reduced capacity. Still, their position remains precarious and the challenges to the sustainability of the sector are ongoing: changing restrictions and associated increased costs, reduction in production and distribution pipelines. The British Film Institute highlighted that the pandemic poses an existential threat, especially to independent exhibitors and those operating in remote or deprived areas. Thus, COVID-19 has also highlighted existing inequalities, the digital divide, and the need to expand the audiences’ diversity. Meanwhile, in sectoral events, panels have reflected on how exhibitors and audiences have become more accustomed to accessing media experiences online, and how this new digital literacy will support cinemas’ efforts to attract cinemagoers in their reopening. Prior to COVID-19, the use of interaction design for new cinematic experiences had attracted the interest of festivals, filmmakers and researchers. In this position paper, we argue that interaction design and technologies can help independent cinemas to engage and galvanise new audiences to patronise COVID-safe venues. From low-end online platforms to high-end immersive experiences, new technologies are transforming connectivity across society, and have the potential to support access for D/deaf, neurodivergent, and disabled audiences, but adoption by exhibitors is so far limited. We outline the research needs and priorities in this field. These include identifying facilitators and obstacles to industry adoption of interactive forms, and mapping experiences and attitudes across the sector. Together with directions for immediate practical solutions, it is crucial to gather critical data for future research use, in order to pave the way for long-term solutions and design innovation, so that the sector can build resilience, recover and reach underserved audiences

Social synchronization of brain activity increases during eye-contact

Humans make eye-contact to extract information about other people’s mental states, recruiting dedicated brain networks that process information about the self and others. Recent studies show that eye-contact increases the synchronization between two brains but do not consider its effects on activity within single brains. Here we investigate how eye-contact affects the frequency and direction of the synchronization within and between two brains and the corresponding network characteristics. We also evaluate the functional relevance of eye-contact networks by comparing inter- and intra-brain networks of friends vs. strangers and the direction of synchronization between leaders and followers. We show that eye-contact increases higher inter- and intra-brain synchronization in the gamma frequency band. Network analysis reveals that some brain areas serve as hubs linking within- and between-brain networks. During eye-contact, friends show higher inter-brain synchronization than strangers. Dyads with clear leader/follower roles demonstrate higher synchronization from leader to follower in the alpha frequency band. Importantly, eye-contact affects synchronization between brains more than within brains, demonstrating that eye-contact is an inherently social signal. Future work should elucidate the causal mechanisms behind eye-contact induced synchronization

Social synchronization of brain activity increases during eye-contact

Copyright © The Author(s) 2022. Humans make eye-contact to extract information about other people’s mental states, recruiting dedicated brain networks that process information about the self and others. Recent studies show that eye-contact increases the synchronization between two brains but do not consider its effects on activity within single brains. Here we investigate how eye-contact affects the frequency and direction of the synchronization within and between two brains and the corresponding network characteristics. We also evaluate the functional relevance of eye-contact networks by comparing inter- and intra-brain networks of friends vs. strangers and the direction of synchronization between leaders and followers. We show that eye-contact increases higher inter- and intra-brain synchronization in the gamma frequency band. Network analysis reveals that some brain areas serve as hubs linking within- and between-brain networks. During eye-contact, friends show higher inter-brain synchronization than strangers. Dyads with clear leader/follower roles demonstrate higher synchronization from leader to follower in the alpha frequency band. Importantly, eye-contact affects synchronization between brains more than within brains, demonstrating that eye-contact is an inherently social signal. Future work should elucidate the causal mechanisms behind eye-contact induced synchronization.BIAL Foundation (No. 138/18); Leverhulme Trust Research Fellowship

Auditory but Not Audiovisual Cues Lead to Higher Neural Sensitivity to the Statistical Regularities of an Unfamiliar Musical Style

It is still a matter of debate whether visual aids improve learning of music. In a multisession study, we investigated the neural signatures of novel music sequence learning with or without aids (auditory-only: AO, audiovisual: AV). During three training sessions on 3 separate days, participants (nonmusicians) reproduced (note by note on a keyboard) melodic sequences generated by an artificial musical grammar. The AV group (n = 20) had each note color-coded on screen, whereas the AO group (n = 20) had no color indication. We evaluated learning of the statistical regularities of the novel music grammar before and after training by presenting melodies ending on correct or incorrect notes and by asking participants to judge the correctness and surprisal of the final note, while EEG was recorded. We found that participants successfully learned the new grammar. Although the AV group, as compared to the AO group, reproduced longer sequences during training, there was no significant difference in learning between groups. At the neural level, after training, the AO group showed a larger N100 response to lowprobability compared to high-probability notes, suggesting an increased neural sensitivity to statistical properties of the grammar; this effect was not observed in the AV group. Our findings indicate that visual aids might improve sequence reproduction while not necessarily promoting better learning, indicating a potential dissociation between sequence reproduction and learning. We suggest that the difficulty induced by auditory-only input during music training might enhance cognitive engagement, thereby improving neural sensitivity to the underlying statistical properties of the learned material

In need of mediation: The relation between syntax and information structure

This paper defends the view that syntax does not directly interact with information structure. Rather, information structure affects prosody, and only the latter has an interface with syntax. We illustrate this point by discussing scrambling, focus preposing, and topicalization. The position entertained here implies that syntax is not very informative when one wants to narrow down the interpretation of terms such as “focus”, “topic”, etc

The German Music@Home: Validation of a questionnaire measuring at home musical exposure and interaction of young children.

The present study introduces the German version of the original version of the Music@Home questionnaire developed in the UK, which systematically evaluates musical engagement in the home environment of young children. Two versions are available, an Infant version for children aged three to 23 months and a Preschool version for children aged two to five and a half years. For the present study, the original Music@Home questionnaire was translated from English into German and 656 caregivers completed the questionnaire online. A confirmatory factor analysis showed moderate to high fit indices for both versions, confirming the factor structure of the original questionnaire. Also, the reliability coefficients for the subscales (Parental beliefs, Child engagement with music, Parent initiation of singing, Parent initiation of music-making for the Infant version and Parental beliefs, Child engagement with music, Parent initiation of music behavior and Breadth of musical exposure for the Preschool version) ranged from moderate to high fits. Furthermore, the test-retest analysis (N = 392) revealed high correlations for the general factor and all subscales confirming their internal reliability. Additionally, we included language questionnaires for children of two and three years of age. Results showed that higher scores on the Music@Home questionnaire were moderately associated with better language skills in two-year-olds (N = 118). In sum, the study presents the validated German Music@Home questionnaire, which shows good psychometric properties. The two versions of the questionnaire are available for use in order to assess home musical engagement of young children, which could be of interest in many areas of developmental research