If you are not there where are you? 27 Feb 2018

Pia Tikka

With the IYANTWAY director Maartje Nevejan, cinematographer Jean and sound designer Fokke in the Kaurismäki Brothers’ Moscow Bar Helsinki. The group is seeking to gain new insights to the experience of absence seizures through artistic contemplation. See more at the productions’web pages  http://www.ceruttifilm.nl/documentaire.php?filmid=12

My interview on neurocinematic topics was flavoured by watching a powerful scene from Aki Kaurismäki film Match Factory Girl, which we have shown to elicit broad whole brain activity in several viewers (orange colour) in functional MRI. This research was conducted at the aivoAALTO research group at Aalto University (2009–2014), and AK’s film was the first that our neurocinematic team took into brain imaging lab.

See more in our research article:

Juha M. Lahnakoski , Juha Salmi, Iiro P. Jääskeläinen, Jouko Lampinen, Enrico Glerean, Pia Tikka, Mikko Sams (2012). Stimulus-Related Independent Component and Voxel-Wise Analysis of Human Brain Activity during Free Viewing of a Feature Film. https://doi.org/10.1371/journal.pone.0035215

 

NeuroCine collaborator Professor Emerita Riitta Hari awarded due to excellence in brain research

Olav Thon Foundation grants the 2018 international research award to Academician, Professor Emerita Riitta Hari

The researcher prize was awarded due to excellence in brain research.

Picture: Mikael Ahlfors, The Women Leaders Program of Finland Chamber of Commerce.

 

The Norwegian Olav Thon Foundation has named Professor Emerita Riitta Hari the recipient of its international researcher award for excellence in brain research. The award totals 5 million Norwegian kroner, which is approximately 518,000 euros.

According to the foundation’s chairperson Olav Thon, Professor Emerita Riitta Hari is a highly respected brain researcher. Many breakthroughs have been made in the field of brain science thanks to Hari.

According to Ole Petter Ottersen, head of the Olav Thon Foundation’s Expert Committee and President of Karolinska Institutet, Hari has been a pioneer of magnetoencephalography (MEG) since the 1980s.

‘This award came as a complete surprise to me. I have been Professor Emerita at the Aalto University Department of Art since 2016, with the aim to lower the borders between art and neuroscience. I take great delight in the award, as well as in the possibility to continue my interesting research, and even to participate in the ceramics courses at the Departments of Art and Design,’ says Professor Emerita Riitta Hari.

Hari directed brain research at Aalto University for over three decades. In 2010, she was granted the honorary title of Academician of Science. Hari has published over 300 peer reviewed articles and numerous other publications. In 2009 Hari was the recipient of the Finnish Science Award, in 2003 she received the Louis Jeantet Prize for Medicine and in 2001 Hari was granted the Matti Äyräpää award.

Previous awards

Pia Tikka

Celebrating Academician Riitta Hari, the director and leading neuroscientist of our globally unique neurocinematics research project aivoAALTO at Aalto University (2009–2014). And the inspiring dialogue between arts and sciences continues – now across the Finish Gulf 

See our co-authored papers at neurocine.net

 

 

Keynote @ ITMO St Petersburg Nov 2017

Pia Tikka

Keynote titled

Lighting the neural scene of storytelling – A neurocinematic approach

at the International research-to-practice conference Lighting Design in St Petersburg, hosted by CLD ITMO University and RULD
The main goal of the conference is to connect Science with Business through Art and Innovative technology to develop a competitive market of lighting design and produce new ideas and trends. Over 500 architects, lighting designers, engineers, IT and multimedia specialists, scientists, representatives of Russian government, top-managers, set designers, producers and artists are expected to attend this year’s conference and discuss the main theme “Identity”. The two-day event features four general panel discussions, more than 20 presentations, workshops and lectures given by key Russian and international experts. In addition to the main program, there will also be cultural and social events arranged, as well as open lectures for the city to promote the development of lighting culture and to increase awareness and knowledge amongst the local citizens in the field of science and light.

TALK by Hosana Celeste Nov 2017

Pia Tikka

Hosana Celeste Oliveira gave a talk @ TLU on her research at the São Paulo State University (UNESP), Institute of Arts São Paulo, Department of Fine Arts, Brazil. Previously she worked in my research team at  Aalto Uni as a visiting research fellow 2016-2017.

Title: Assistive interfaces for the arts: From diffusion to inclusion

In this presentation we introduce the activities carried out in our research group GIIP at São Paulo State University (UNESP, Brazil) focusing on the project “Assistive interfaces for the arts: From diffusion to inclusion”. This project brings together the efforts of several researchers from Brazil and Spain. It aims to create low cost and free access assistive interfaces to teach and make art by using reengineering, customization and open source. We will present an overview and some partial results on four prototypes that we developed, such as Kit Facilita, Artia.V, Artia.C, and TECLAUT. The creation process of these prototypes is mainly inspired by the case studies of Samara Andresa Del Monte (journalist) and Dr. Ana Amália Tavares Bastos Barbosa, as well as her teaching method in art education. Dr. Barbosa is artist, art educator and postdoctoral researcher at GIIP, she became the first quadriplegic to obtain a doctorate degree in Brazil.

Hosana Celeste Oliveira

Ph.D. Candidate in Arts, Institute of Arts, São Paulo State University (UNESP, Brazil) Artist and researcher in the field of art, science and technology. She got a bachelor degree in Fine Arts and master in Multimedia, both at UNICAMP (Brazil). Currently, she is PhD candidate in Arts at UNESP, funded by Capes (Ministry of Education of Brazil). She accomplished one year of her doctoral studies at the Media Lab – School of Arts, Design and Architecture of Aalto University (Finland, 2015-2016) under de supervision of Dr. Pia Tikka. She was visiting researcher at KISD (2007-2008), funded by DAAD-STIBET, and at KHM (2009-2010), both in Cologne, Germany. Also, she collaborated with En-Fer Atelier (The Netherlands, 2005-2007) developing web and graphic design projects. Her research agend is built around neuroscientific approaches on perception, emotion, biofeedback interfaces, and embodiment.

 

Recently Hosana Celeste contributed to the book Projective Processes and Neuroscience in Art and Design ( Advances in Media, Entertainment, and the Arts) (9781522505105): Rachel Zuanon: Books.

Doctoral defense: Thorbjörn Swenberg, 15 Sept 2017

Pia Tikka

I had the pleasure to serve as an opponent for the public defense of film editor Thorbjörn Swenberg’s doctoral thesis in Innovation and Design at Mälardalen University, room Raspen (Eskilstuna Campus, Verktyget) at 10.00 on September 15, 2017.

Title: “Framing the Gaze: (Audio-)Visual Design Intentions and Perceptual Considerations in Film Editing”

The faculty examiner is PhD Pia Tikka, Aalto University  [Tallinn University, starting Sept 1] and the examining committee consists of Professor Jonas Löwgren, Linköping University, Barbara Tversky, Professor emerita på Stanford University och Professor at Teachers College Columbia University and Docent Tomas Axelson, Dalarna University. Reserve: Docent Peter E Johansson, Mälardalen University.

Abstract

How we perceive a film, and what we focus on when following a film story, is to a great extent dependent on how the film is compiled. In other words, how the film is edited by the film editor. This study has been designed to enable a better understanding of the film editor’s profession, how s/he assesses the edits, as well as how the editing precision influences the attention of the film viewer.

This doctoral thesis shows how a film editor strives to direct the film viewer’s attention across film edits by means of a principle I term “framing the gaze”. The film editor considers perceptual properties of sound and image when s/he processes the audiovisual material. Either, the viewer should notice a passing edit, or the shots joined into a film sequence should be merged in a seamless manner so that they are experienced as one ongoing flow of moving image, without breaks between shots. This is called continuity.

In compiling each edit, the editor decides whether that particular edit should be noticeable, or not, depending on his/her intention. The question is, how meticulous the editor must be about the point where shots meet if the edit is to remain un-noticed, and how the best precision is achieved.

In this study, a documentary film sequence is edited by a film editor, and the process, including the considerations made about each edit, has been recorded. The editing process and the film sequence are then discussed by the researcher and the editor together. In this thesis, film editing is thus considered as a kind of design work, which is a new approach to analysing film editing.

When the film sequence in the study was screened before a test audience, accompanied by a version of the sequence with less precision at the edit points, the film viewers’ gazes varied according to the precision of the edits. Less precision (as in the altered version) rendered signs of high cognitive load, and, hence, poor understanding of the film.

The conclusion of this research is that the film editor’s perceptual precision at the edit point is crucial for reaching his/her intention regarding the film viewer’s gaze. When the perceptual precision is low, it is likely that the film viewer does not experience continuity.

Thus, the study demonstrates how tiny audiovisual details can make a huge impact in film editing, giving us a better understanding of how film editors think and work. We also gain some tentative implications for the role of perception in other kinds of design work.

More here.