Listening to the mind at play: sonified biofeedback as generative art practice and theory

Explorative play affects the root of our being, as it is generative. Often experienced as a thrill, explorative play gradually lures its players beyond their mental or physical limits. While doing so, it affects players well before they can perform intentional actions. To understand explorative play therefore means to understand what happens before intention sets in. But this is problematic: by the time this becomes experienceable it is already clouded by habit and memory. However, thought processes outlined in Deleuze’s philosophy of difference reveal important clues as to how habitual thinking patterns may be exceeded, and why explorative play might cause thrilling and vertiginous experiences: when our awareness of the present is intensified, the potential to disturb habitual patterns arises; within this there is a chance to arrive at an ‘intuitive understanding’ of events where intensities express themselves as non-intentional movement or poetic language. This notion was investigated through generative art practice. An experimental setting was prepared that allowed for explorative play with a complex system – a biofeedback instrument that sonified its wearer’s physiological data in real-time. This instrument was explored in performances as well as participative action research sessions. The insight emerging from the performances was that introspection and stillness can enhance practice. The connections to Eastern practices this suggests were followed up and, by investigating the role of stillness in performance practices like Butoh, methods that may radicalise a biofeedback performance came to light. Extending these to biofeedback composition then made listening a central focus of this research and consequently, listeners’ responses to sonified biofeedback, the disruption of habitual musical expectations and increased immersed listening became paramount aspects of the practice. Conversely, the insight emerging from the participative sessions was that explorative playing with a complex system can allow for a more intuitive understanding of the generative because the emerging play experiences can be internally transformative; producing new ideas and forms, for instance poetic language or improvised movement. Thus overall, the research underlined the benefits of a greater propagation of explorative play

Depiction of pneumothoraces in a large animal model using x-ray dark-field radiography

The aim of this study was to assess the diagnostic value of x-ray dark-field radiography to detect pneumothoraces in a pig model. Eight pigs were imaged with an experimental grating-based large-animal dark-field scanner before and after induction of a unilateral pneumothorax. Image contrast-to-noise ratios between lung tissue and the air-filled pleural cavity were quantified for transmission and dark-field radiograms. The projected area in the object plane of the inflated lung was measured in dark-field images to quantify the collapse of lung parenchyma due to a pneumothorax. Means and standard deviations for lung sizes and signal intensities from dark-field and transmission images were tested for statistical significance using Student’s two-tailed t-test for paired samples. The contrast-to-noise ratio between the air-filled pleural space of lateral pneumothoraces and lung tissue was significantly higher in the dark-field (3.65 ± 0.9) than in the transmission images (1.13 ± 1.1; p = 0.002). In case of dorsally located pneumothoraces, a significant decrease (−20.5%; p > 0.0001) in the projected area of inflated lung parenchyma was found after a pneumothorax was induced. Therefore, the detection of pneumothoraces in x-ray dark-field radiography was facilitated compared to transmission imaging in a large animal model

Depiction of pneumothoraces in a large animal model using x-ray dark-field radiography

The aim of this study was to assess the diagnostic value of x-ray dark-field radiography to detect pneumothoraces in a pig model. Eight pigs were imaged with an experimental grating-based large-animal dark-field scanner before and after induction of a unilateral pneumothorax. Image contrast-tonoise ratios between lung tissue and the air-filled pleural cavity were quantified for transmission and dark-field radiograms. The projected area in the object plane of the inflated lung was measured in dark-field images to quantify the collapse of lung parenchyma due to a pneumothorax. Means and standard deviations for lung sizes and signal intensities from dark-field and transmission images were tested for statistical significance using Student's two-tailed t-test for paired samples. The contrast-to-noise ratio between the air-filled pleural space of lateral pneumothoraces and lung tissue was significantly higher in the dark-field (3.65 +/- 0.9) than in the transmission images (1.13 +/- 1.1;p = 0.002). In case of dorsally located pneumothoraces, a significant decrease (-20.5%;p > 0.0001) in the projected area of inflated lung parenchyma was found after a pneumothorax was induced. Therefore, the detection of pneumothoraces in x-ray dark-field radiography was facilitated compared to transmission imaging in a large animal model

In-vivo X-ray Dark-Field Chest Radiography of a Pig

X-ray chest radiography is an inexpensive and broadly available tool for initial assessment of the lung in clinical routine, but typically lacks diagnostic sensitivity for detection of pulmonary diseases in their early stages. Recent X-ray dark-field (XDF) imaging studies on mice have shown significant improvements in imaging-based lung diagnostics. Especially in the case of early diagnosis of chronic obstructive pulmonary disease (COPD), XDF imaging clearly outperforms conventional radiography. However, a translation of this technique towards the investigation of larger mammals and finally humans has not yet been achieved. In this letter, we present the first in-vivo XDF full-field chest radiographs (32 x 35 cm(2)) of a living pig, acquired with clinically compatible parameters (40 s scan time, approx. 80 mu Sv dose). For imaging, we developed a novel high-energy XDF system that overcomes the limitations of currently established setups. Our XDF radiographs yield sufficiently high image quality to enable radiographic evaluation of the lungs. We consider this a milestone in the bench-to-bedside translation of XDF imaging and expect XDF imaging to become an invaluable tool in clinical practice, both as a general chest X-ray modality and as a dedicated tool for high-risk patients affected by smoking, industrial work and indoor cooking

Measuring the effectiveness of trade show performance of a B2B company in the Security, Safety and Communication industry - the example of Bosch Building Technology

Trade shows are a major marketing tool for B2B companies due to its effectiveness by reaching all key players in the industry at one place in one point of time. However, this is combined with a high cost factor making a cost justification crucial. For this purpose, an objective explanation on the results of the trade show performance is compulsively necessary. The following research focuses on a single multinational B2B company within the safety, security and communication industry. It aims to convey an understanding of how to evaluate the trade show participation of Bosch Building Technology. Hereby, theoretical deliverables will be compared to explain relevant success factors of the B2B market and the industry while identifying trade show dimensions. This research includes expert interviews to gather information from professionals in the field of trade show organization. Subsequently to an internal survey research, the example of a best practice measurement model is analysed in a case study

Listening to the mind at play-sonified biofeedback as generative art practice and theory

Explorative play affects the root of our being, as it is generative. Often experienced as a thrill, explorative play gradually lures its players beyond their mental or physical limits. While doing so, it affects players well before they can perform intentional actions. To understand explorative play therefore means to understand what happens before intention sets in. But this is problematic: by the time this becomes experienceable it is already clouded by habit and memory. However, thought processes outlined in Deleuze’s philosophy of difference reveal important clues as to how habitual thinking patterns may be exceeded, and why explorative play might cause thrilling and vertiginous experiences: when our awareness of the present is intensified, the potential to disturb habitual patterns arises; within this there is a chance to arrive at an ‘intuitive understanding’ of events where intensities express themselves as non-intentional movement or poetic language. This notion was investigated through generative art practice. An experimental setting was prepared that allowed for explorative play with a complex system – a biofeedback instrument that sonified its wearer’s physiological data in real-time. This instrument was explored in performances as well as participative action research sessions. The insight emerging from the performances was that introspection and stillness can enhance practice. The connections to Eastern practices this suggests were followed up and, by investigating the role of stillness in performance practices like Butoh, methods that may radicalise a biofeedback performance came to light. Extending these to biofeedback composition then made listening a central focus of this research and consequently, listeners’ responses to sonified biofeedback, the disruption of habitual musical expectations and increased immersed listening became paramount aspects of the practice. Conversely, the insight emerging from the participative sessions was that explorative playing with a complex system can allow for a more intuitive understanding of the generative because the emerging play experiences can be internally transformative; producing new ideas and forms, for instance poetic language or improvised movement. Thus overall, the research underlined the benefits of a greater propagation of explorative play.EThOS - Electronic Theses Online ServiceGBUnited Kingdo

What is Mindplay?

The article focuses on the conference Mindplay held on January 20, 2006 at London Metropolitan University in England. It was organised by the Group for Research in Interactive Media within the Department of Applied Sciences. The conference focused on play and interaction within digital media environments. The core themes of the conference are listed. Mindplay is defined. The production of play and play experiences are discussed

Listening to the mind at play-sonified biofeedback as generative art practice and theory

Explorative play affects the root of our being, as it is generative. Often experienced as a thrill, explorative play gradually lures its players beyond their mental or physical limits. While doing so, it affects players well before they can perform intentional actions. To understand explorative play therefore means to understand what happens before intention sets in. But this is problematic: by the time this becomes experienceable it is already clouded by habit and memory. However, thought processes outlined in Deleuze’s philosophy of difference reveal important clues as to how habitual thinking patterns may be exceeded, and why explorative play might cause thrilling and vertiginous experiences: when our awareness of the present is intensified, the potential to disturb habitual patterns arises; within this there is a chance to arrive at an ‘intuitive understanding’ of events where intensities express themselves as non-intentional movement or poetic language. This notion was investigated through generative art practice. An experimental setting was prepared that allowed for explorative play with a complex system – a biofeedback instrument that sonified its wearer’s physiological data in real-time. This instrument was explored in performances as well as participative action research sessions. The insight emerging from the performances was that introspection and stillness can enhance practice. The connections to Eastern practices this suggests were followed up and, by investigating the role of stillness in performance practices like Butoh, methods that may radicalise a biofeedback performance came to light. Extending these to biofeedback composition then made listening a central focus of this research and consequently, listeners’ responses to sonified biofeedback, the disruption of habitual musical expectations and increased immersed listening became paramount aspects of the practice. Conversely, the insight emerging from the participative sessions was that explorative playing with a complex system can allow for a more intuitive understanding of the generative because the emerging play experiences can be internally transformative; producing new ideas and forms, for instance poetic language or improvised movement. Thus overall, the research underlined the benefits of a greater propagation of explorative play

Gandharam, lullaby for Max Mathews

The flute begins its expose in raga Anadabhairavi, an ancient raga said to have originated from the South Indian folk music tradition; still present today in wedding songs, lullabies and other compositions. The raga is said to evoke compassion with its blissful and ethereal characteristics. Some musical key features of this raga are the stress of the swara (note) gandharam, the prevalence of some swaras throughout the piece as well as certain swara combinations in the ascending melody line. The piece, and the earlier flute parts in particular, follow the traditional compositional guidelines of Anadabhairavi, however as the piece progresses this dissolves. The piece is somewhat tonal in nature, however this is a necessity as flute and electronics communicate with each other through the key swaras of Anadabhairavi. Often the electronics use a long-held flute note to start new material or a flute phrase emerges from the material the electronics play. In that way the characteristics of Anandabhairavi can be maintained in essence rather than in form