‘Enheduanna – A Manifesto of Falling’ live brain-computer cinema performance: performer and audience participation, cognition and emotional engagement using multi-brain BCI interaction

Zioga, P., Pollick, F. , Ma, M. , Chapman, P. and Stefanov, K. (2018) ‘Enheduanna – A Manifesto of Falling’ live brain-computer cinema performance: performer and audience participation, cognition and emotional engagement using multi-brain BCI interaction. Frontiers in Neuroscience, 12, 191. (doi: 10.3389/fnins.2018.00191)

159772.pdf - Published Version
Available under License Creative Commons Attribution.



The fields of neural prosthetic technologies and Brain-Computer Interfaces (BCIs) have witnessed in the past 15 years an unprecedented development, bringing together theories and methods from different scientific fields, digital media, and the arts. More in particular, artists have been amongst the pioneers of the design of relevant applications since their emergence in the 1960s, pushing the boundaries of applications in real-life contexts. With the new research, advancements, and since 2007, the new low-cost commercial-grade wireless devices, there is a new increasing number of computer games, interactive installations, and performances that involve the use of these interfaces, combining scientific, and creative methodologies. The vast majority of these works use the brain-activity of a single participant. However, earlier, as well as recent examples, involve the simultaneous interaction of more than one participants or performers with the use of Electroencephalography (EEG)-based multi-brain BCIs. In this frame, we discuss and evaluate “Enheduanna—A Manifesto of Falling,” a live brain-computer cinema performance that enables for the first time the simultaneous real-time multi-brain interaction of more than two participants, including a performer and members of the audience, using a passive EEG-based BCI system in the context of a mixed-media performance. The performance was realised as a neuroscientific study conducted in a real-life setting. The raw EEG data of seven participants, one performer and two different members of the audience for each performance, were simultaneously recorded during three live events. The results reveal that the majority of the participants were able to successfully identify whether their brain-activity was interacting with the live video projections or not. A correlation has been found between their answers to the questionnaires, the elements of the performance that they identified as most special, and the audience's indicators of attention and emotional engagement. Also, the results obtained from the performer's data analysis are consistent with the recall of working memory representations and the increase of cognitive load. Thus, these results prove the efficiency of the interaction design, as well as the importance of the directing strategy, dramaturgy and narrative structure on the audience's perception, cognitive state, and engagement.

Item Type:Articles
Additional Information:This work was supported by the NEON Organization under the 2014–2015 Grant for Performance Production; and the Glasgow School of Art under the Global Excellence Initiative Fund Ph.D. Studentship.
Glasgow Author(s) Enlighten ID:Pollick, Professor Frank and Stefanov, Mr Kristian and Ma, Professor Minhua
Authors: Zioga, P., Pollick, F., Ma, M., Chapman, P., and Stefanov, K.
College/School:College of Science and Engineering > School of Psychology
College of Medical Veterinary and Life Sciences > School of Health & Wellbeing > General Practice and Primary Care
Journal Name:Frontiers in Neuroscience
Publisher:Frontiers Media
ISSN (Online):1662-453X
Copyright Holders:Copyright © 2018 The Authors
First Published:First published in Frontiers in Neuroscience 12:191
Publisher Policy:Reproduced under a Creative Commons License

University Staff: Request a correction | Enlighten Editors: Update this record