Workshop at The Brandenburg Centre for Media Studies (ZeM), Potsdam
In the year which marks both the 120th anniversary of Sergej Eisenstein’s birth and the 70th anniversary of his death, the Brandenburg Centre for Media Studies (ZeM) in Potsdam and “Cinepoetics – Center for Advanced Film Studies” at the Free University Berlin are jointly organising a workshop that will take place in Potsdam from the 22th to 24th November 2018. More here.
Title of the talk by Pia Tikka: Simulatorium Eisensteinense: Eisenstein’s legacy in art and science dialogue
Image form Sergei Eisenstein Elokuvan muoto, p 121 ISBN 951-835-004-3
Enactive Virtuality Lab is collaborating with the Brain and Mind Lab of the Aalto School of Science, studying how narrative priming affects the viewer’s narrative story construction. Study on-going.
Images: Tea (Maria Järvenhelmi), Henrik (Vesa Wallgren) and his son Daniel (Juha Hippi). Short film The Queen (Kuningatar) directed by Pia Tikka, screenplay by Eeva R Tikka. Production Oblomovies Oy and Dreammill Productions and in association with Aalto University 2013.
The film has been produced for experimental brain research purposes, which cannot be revealed at this point, as the study is on-going.
In the image Enactive Virtuality Lab’s student team Angela Kondinska and Michael Becken at Aalto University Behavioural Lab measuring physiological signals of volunteers at the end of October. Collaborators from Aalto School of Science, Brain and Mind Lab are professor Mikko Sams,. Dr.Tommi Himberg, Veli-Matti Saarinen, and project researcher Jenni Hannukainen, Enactive Virtuality Lab, Tallinn University.
The two day conference The Collaborative Turn in Art: The Research Process in Artistic Practice deals with artistic research, in particular the expanded understanding of this term and the questions raised by collaborative creative practices. Venue: Estonian Academy of Art s, Põhja pst 7, room A501.
Image: Julijonas Urbonas. “Talking Doors” 2009 (Doors Event) Fo more, click the Link to the conference webpage.
My talk “Neurocinematics & Art-Science Collaboration” concerned the first hand knowledge gained from several collaborative projects in which I have worked as a consulting film expert, and my own neurocinematic projects in which I have functioned as the principal investigator. I highlighted the diversity of issues one faces in collaborations between artists and scientists. Especially interesting was to reflect conceptual, technological and methodological differences between arts and sciences. The discussion ranged from conceptual to technological issues, however the focus on challenges such as finding shared language, working methods, best division of labor and responsibilities and authorship.
Image shows a view to the lecture room: Chris Hales guides the audience through his talk tilled “From Tacit Knowledge to Academic Knowledge”
AI & Media Afternoon by Aalto Studios with ACE Producers / 12.10.2018 / Helsinki
Drs Pia Tikka and Ilkka Kosunen (image) gave a joint talk at the AI & Media Afternoon event on Friday the 12th of October, 2018. The event was held at Miltton offices at Vuorikatu 15, Helsinki, from 16:15 until 19:00.
Mika Rautiainen, Valossa Oy: Applying Video Recognition and Content Intelligence to Media Workflows
Pia Tikka & Ilkka Kosunen: Creating Autonomous Behavior of Virtual Humanlike Characters in Interaction with Human Participants
With the support of the Estonia 100 programme, Tallinn University, Tallinn Summer School, and ITMO University offered a summer school course “Experimental Interaction Design: Physiological Computing Technologies for Performative Arts.”
The main goal of the one-week extensive hands-on course in interaction design was to empower people to shape their digital environments thus providing a new level of digital literacy. This edition focused on Neurotheatre, a specific type of interactive theatre, where audience and/or actors can communicate via brain and neural computer interfaces using multimodal sensors and actuators.
The course introduced core design and interaction design topics in a provocative stance, inviting participants to reflect upon ongoing shifts, connections, and re-framings in just about every area of interaction design, and inciting a rebellion against passivity. This was complemented with the development of skills in systematic evaluation of usability and user experience of interaction designs. The expectation is to see participants take ownership of the interaction design process.
A young girl Nora stares shocked at her mother Anu. Anu stands expressionless by the kitchen table and scrapes the left-over spaghetti from Nora’s plate into a plastic bag. She places the plate into the bag and starts putting there other dining dishes, takes a firm hold of the bag and smashes it against the table. Nora is horrified: “Mother! What are you doing?”. Anu continues smashing the bag without paying attention to her daughter. Nora begs her to stop. Anu collapses crying against the table top. Nora approaches, puts her arms around the crying mother and starts slowly caressing her hair.
The dramatic scene describes a daughter witnessing a nervous breakdown of her mother. Its narrative content remains the same should one read it in a textual form or viewed it as a movie. It is relatively well known how narratives are processed in the distinct human sensory cortices depending on the sensory input through which the narrative is perceived (reading, listening, viewing; [1–5]). However, far less is known of how the human brain processes meaningful narrative content independent of the media of presentation. To tackle this classical dichotomy issue between form and content in neuroimaging terms, we employed functional magnetic resonance imaging (fMRI) to provide new insights into brain networks relating to a particular narrative content while overlooking its form.
In the image Nora (actress Rosa Salomaa); director Saara Cantell, cinematography Marita Hällfors (F.S.C), producer Outi Rousu, Pystymetsä Oy, 2010.
Narratives surround us in our everyday life in different forms. In the sensory brain areas, the processing of narratives is dependent on the media of presentation, be that in audiovisual or written form. However, little is known of the brain areas that process complex narrative content mediated by various forms. To isolate these regions, we looked for the functional networks reacting in a similar manner to the same narrative content despite different media of presentation. We collected 3-T fMRI whole brain data from 31 healthy human adults during two separate runs when they were either viewing a movie or reading its screenplay text. The independent component analysis (ICA) was used to separate 40 components. By correlating the components’ time-courses between the two different media conditions, we could isolate 5 functional networks that particularly related to the same narrative content. These TOP-5 components with the highest correlation covered fronto-temporal, parietal, and occipital areas with no major involvement of primary visual or auditory cortices. Interestingly, the top-ranked network with highest modality-invariance also correlated negatively with the dialogue predictor, thus pinpointing that narrative comprehension entails processes that are not language-reliant. In summary, our novel experiment design provided new insight into narrative comprehension networks across modalities.
A video conference presentation at the 1st “Virtual Reality as a Transformative Technology to Develop Empathy” Conference, organised by the “empathic Reactive MediaLab Coalition” (eRMLab Coalition) and EmpaticaXR research group.
Lynda Joy Gerry: Envisioning Future Technology for Compassion Cultivation
Experiments in cognitive neuroscience have recently dissociated neural pathways underpinning the experience of empathy from that of compassion. Namely, whereas the experience of empathy involves neural activations regarding an affective pain resonance with the distress or suffering of the target, compassion is correlated to reward centers and positive affect regions of the brain. The import of this finding is that empathy may in some instances lead to a withdrawal reflex if there is excessive sharing of distress with the target, whereas compassion appears to involve a care for the welfare of another and an approach motivation. Within the last five years, virtual environments (VEs) have been increasingly researched and developed towards the goal of enhancing users’ social intelligence, self-compassion, positive attitudes towards out-groups, and empathy. However, most of these VEs do not help the user to become more aware of his or her own emotional and psychological states in response to another person or persons, arguably a crucial step in the recovery from empathic distress or over-arousal. Biofeedback training has also been used for improving social cognition skills, but only a few projects have incorporated biofeedback into empathy-enhancing virtual environments. Recovery from empathic distress as a skill trained through biofeedback VEs could enhance interpersonal connectedness, quality of life, and social cohesion.
In this article Deren’s film At Land is analyzed as an expression of a human body-brain system situated and enactive within the world, with references to neuroscience, neurocinematic studies, and screendance.
TIKKA, Pia. Screendance as enactment in Maya Deren’s At Land. DATJournal Design Art and Technology, [S.l.], v. 3, n. 1, p. 9-28, june 2018. ISSN 2526-1789. First published in The Oxford Handbook of Screendance Studies Edited by Douglas Rosenberg,Aug 2016. Available online here.