The Interconnected Object: Are You at Home in a Network?

Interconnected devices and objects pervade our everyday lives with an increasing trend. These digital objects, connected through wireless and cable networks, exchange information in various levels, producing diverse types of interactions between them and their users. The paper explores the aspect of interconnectivity as a key-attribute of the contemporary digital artefacts that populate our everyday environments. It explores the notion of home, place and network by focusing on the effects of digital interconnectivity in the way we perceive private and public space. In this context, “HOME network”, a collaborative project, is presented. The project is a portable, netless (without an Internet connection) Wi-Fi network, a free access unlocked digital platform, transmitting within the urban environment of various cities during a series of specific time periods and events. The artists carry the network through space and time, as an unrevealed, private, performative act within the realm of the public urban space, leaving only temporary transmitted digital traces/data within the vicinity of the transmission range, thus producing interactions and exploring the boundaries between the private and the public, the physical and the digital space and challenging the notion of surveillance in urban environments. New action patterns are introduced, which look into new ways of performing the physicality of the body within a digital nomadism. At the same time the artists address themes and invite the visitors of the network to engage, participate in and reflect on commonly shared experiences and contemporary questions regarding our sense of belonging in both the private and the public sphere

A Wireless Future: performance art, interaction and the brain-computer interfaces

Although the use of Brain-Computer Interfaces (BCIs) in the arts originates in the 1960s, there is a limited number of known applications in the context of real-time audio-visual and mixed-media performances and accordingly the knowledge base of this area has not been developed sufficiently. Among the reasons are the difficulties and the unknown parameters involved in the design and implementation of the BCIs. However today, with the dissemination of the new wireless devices, the field is rapidly growing and changing. In this frame, we examine a selection of representative works and artists, in comparison to the current scientific evidence. We identify important performative and neuroscientific aspects, issues and challenges. A model of possible interactions between the performers and the audience is discussed and future trends regarding liveness and interconnectivity are suggested

Interactive Film History: The Challenge of Classification

It is widely considered that technology gave birth and continues to play a vital role in film production around the globe. Technological advancements have shaped film language and the audience experience throughout history. With the emergence of interactivity and the proliferation of new digital media and technologies, new opportunities, discourses and challenges have arisen. In this context, this paper discusses that current classification approaches are not appropriate for capturing in a comprehensive manner the multidimensional aspects of interactive film history. It is proposed that a new classification system is needed in order to map the history of interactive filmmaking and cinema, alongside the development and affordances of the different interactive technologies in use, like the Hypertext Markup Language (HTML) and web technologies, 360o video, Virtual and Augmented Reality, and Artificial Intelligence (AI) among others. Other prominent characteristics and practices that are considered include the enablement of either single- and/or collective multi-interaction of the audience with the moving image; the role of complex algorithms and the type of data analysis performed; technologies that make direct use of the audience’s physiology and cognitive state, such as the Brain-Computer Interfaces (BCIs); as well as the gamification of the film viewing experience. Accordingly, a new approach to identifying a suitable systematic structure is outlined, as opposed to recycling the conventional methods of classification, chronological order and genre categorisation

Live Brain-Computer Cinema Performance

The majority of the applications of Brain-Computer Interfaces (BCIs) in the arts and entertainment use the brain activity of a single participant, although an increasing number involve the interaction of more than one user. This dissertation investigates the design and implementation of multi-brain electroencephalography (EEG)–based BCIs in the context of live cinema and mixed-media performances. The aim is to identify the interdisciplinary challenges involved and to develop an effective model for the simultaneous multi-brain interactions of performers and audiences. By combining scientific and practice-based methodologies, a new passive multi-brain EEG-based BCI system was developed and implemented in 'Enheduanna—A Manifesto of Falling', the first demonstration of a live brain–computer cinema performance (CCA Glasgow, July 2015). This new work enabled the simultaneous, real-time interaction—with the use of EEG-based BCIs—of more than two participants, including both a performer and members of the audience, in the context of a mixed-media performance. The analysis of the participants’ data reveals a correlation between the elements of the performance that they identified as most special and their indicators of attention and emotional engagement, proving the efficiency of the interaction design, the importance of the directing strategy, dramaturgy and narrative structure. Accordingly, the original contributions of the research include the new passive multi-brain EEG-based BCI system, the live braincomputer cinema performance, as a novel format of performative work and as a complete combination of creative and scientific solutions

New research shows how brain-computer interaction is changing cinema

First paragraph: Over the past few years, we have seen the extraordinary development of neural prosthetic technologies that can replace or enhance functions of our central nervous system. For example, devices like Brain-Computer Interfaces (BCIs) allow the direct communication of the brain with a computer. The most common technique applied in these devices, is Electroencephalography (EEG) – a recording of the electrical activity along the scalp.https://theconversation.com/new-research-shows-how-brain-computer-interaction-is-changing-cinema-9483

Paintings Alive: An Interactive Film for Young Museum Visitors

To reach younger audiences, museums worldwide have incorporated interactive and hands-on activities, while some venues specialise in children as their main audience. Videos, in particular, can be easily integrated into the museum space and provide a variety of application possibilities. Their use creates a hybrid experience for the visitor in which the interaction between physical and digital elements transforms and enriches their experience of the exhibits. Furthermore, interactive technologies have been proven to increase visitor numbers and interactions on-and off-site. In this context, our practice-based research focuses on the use of interactive video technologies and factors that can lead to the design of engaging and user-friendly museum experiences for children to investigate their application through the production of a new interactive film for young museum visitors. A museum was chosen as a case study, and a survey was conducted to achieve this. The results indicated that creating an interactive video could benefit the areas that were visited less; the preferable length is relatively short, while hands-on and video installations promote and prolong the engagement of young visitors and are favoured by both younger and older children. Additionally, fictional or dramatised stories are attractive to children compared to documentaries; accessing the interactive content on their mobile devices would be preferable. These have led to the production of Paintings Alive, an interactive film for children, featuring and reenacting the paintings in the museum’s art gallery and accessible on the visitors’ mobile devices. Our article also discusses the project's findings, alongside the challenges and limitations imposed by the COVID-19 pandemic, and offers recommendations for future work

Scriptwriting for Interactive Crime Films: The Case of Scapegoat

In recent years, the increasing number of interactive films being released, has highlighted the need for further development of methods and criteria that can guide the earlier stages of development, such as the scriptwriting process. Following the framework of interactive storytelling as a spectrum, it is acknowledged that writing a script for an interactive narrative that involves branching path options for navigating through the story, or multiple endings, is becoming more common and presents its own challenges. In this context, this paper examines established criteria used for assessing narrative quality and examines currently available software for interactive scriptwriting, identifying their affordances and limitations. Accordingly, we present Scapegoat, a short interactive crime drama, based on the model of British homicide investigations, and with the objective to investigate in practice the application of the criteria for narrative quality, together with the processes and elements of scriptwriting that can lead to a strong engaging story. We propose an approach that can efficiently incorporate crucial information of the interaction design, it can be effectively communicated to the crew and cast and used throughout the production lifecycle of the film. We highlight the crucial role of the on-set script supervisor for ensuring the interaction design is not compromised, and continuity is retained. We also discuss recommendations for further developments, including the importance of engaging the crew and cast early in the development process, together with future work into the requirements of interactive commissioners for television and film, and the need for standarisation in the industry

A Hypothesis of Brain-to-Brain Coupling in Interactive New Media Art and Games Using Brain-Computer Interfaces

Interactive new media art and games belong to distinctive fields, but nevertheless share common grounds, tools, methodologies, challenges, and goals, such as the use of applications and devices for engaging multiple participants and players, and more recently electroencephalography (EEG)-based brain-computer interfaces (BCIs). At the same time, an increasing number of new neuroscientific studies explore the phenomenon of brain-to-brain coupling, the dynamics and processes of the interaction and synchronisation between multiple subjects and their brain activity. In this context, we discuss interactive works of new media art, computer and serious games that involve the interaction of the brain-activity, and hypothetically brain-to-brain coupling, between multiple performer/s, spectator/s, or participants/players. We also present Enheduanna – A Manifesto of Falling (2015), a new live brain-computer cinema performance, with the use of an experimental passive multi-brain BCI system under development. The aim is to explore brain-to-brain coupling between performer/s and spectator/s as means of controlling the audio-visual creative outputs

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