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While many still consider interactive movies an unrealistic idea, current delivery platforms like Netflix, commercial VR, and the proliferation of wearable sensors mean that adaptive and responsive entertainment experiences are an immediate reality. Our prior work demonstrated a brain-responsive movie that showed different views of scenes depending on levels of attention and meditation produced by a commercialised home-entertainment brain sensor. Based on lessons learned, this demonstration exhibits the new interactions designed for our new brain-controlled movie, The MOMENT, being released in 2018.

Interactive films have been around for almost a century, yet they have suffered repeatedly from critical, commercial and interactional failings. We propose that brain-computer interfaces can offer interactions with narratives and encourage cinematic engagement by minimising active control. We ask what are the problems inherent to interactive cinema? Can real-time interactions via a brain-computer interface (BCI) construct cinematic content? And how do groups of individuals experience brain-controlled cinema designed for individual, shared or distributed control? Our review of related work motivates the interactional choice of using Passive BCI with real-time cinematic construction to synchronise rhythms of the viewers blinking, Attention and Meditation to the rhythms of cinema. We use the Performance Led Research in-the-Wild methodology to probe public deployments of our films, and we describe user interactions in-the-Wild during screenings of multiple designs of two interactive films: three single user, three multi user, and a live score performance. Our descriptions of BCI mappings to cinematic techniques and production strategies to produce interactive content efficiently contributes to the understanding of practical interactive cinema production. In our results we define 1) different stages of control; discovery, conscious and unconscious, 2) awareness of the affective loop, 3) a shifting prominence of engagement between the narrative, the visual qualities and the agency of users’ interactions. We offer a dynamic view of control; people’s experiences are shifting from awareness of their self, the film, and their control. Our hyper-scanning multi-user study introduces the concept of effects moving across groups, working together to produce engaging experiences, and instances of group members disrupting other’s experience by deciding to unilaterally take control of the film. Our discussion contributes to our understanding of passive interactions with narrative sys

This paper outlines some of the issues that we will be discussing in the workshop “The Design of Future Music Technologies: ‘Sounding Out’ AI, Immersive Experiences & Brain Controlled Interfaces.” Musical creation, performance and consumption is at a crossroads, how will future technologies be affected by exciting and innovative new developments in artificial intelligence, immersive technologies and developing mechanisms for interfacing with music, such as Brain Controlled systems. In many respects this document acts as a mini survey, made up of supporting material, a bibliography of works and offers a series of quotes from work that has mainly emerged from the FAST Project – see: www.semanticaudio.co.uk.

While many still consider interactive movies an unrealistic idea, current delivery platforms like Netflix, commercial VR, and the proliferation of wearable sensors mean that adaptive and responsive entertainment experiences are an immediate reality. Our prior work demonstrated a brain-responsive movie that showed different views of scenes depending on levels of attention and meditation produced by a commercialised home-entertainment brain sensor. Based on lessons learned, this demonstration exhibits the new interactions designed for our new brain-controlled movie, The MOMENT, being released in 2018.

In this paper we present #Scanners, a digital arts installation that aims to bridge the gap between digital arts and neuroscience. #Scanners is an experience in which an individual wears a wireless brain scanners whilst being presented media which is dynamically affected by the individuals physiology. A prototype system has been successfully trialled on roughly 100 users over the past 18 months and has received unanimously positive feedback. We state the minimal additional requirements for demonstrating a Higher Fidelity prototype system and argue the value of including #Scanners at C&C2015.

This paper explores the design space of bio-responsive entertainment, in this case using a film that responds to the brain and blink data of users. A film was created with four parallel channels of footage, where blinking and levels of attention and meditation, as recorded by a commercially available EEG device, affected which footage participants saw. As a performance-led piece of research in the wild, this experience, named #Scanners, was presented at a week long national exhibition in the UK. We examined the experiences of 35 viewers, and found that these forms of partially-involuntary control created engaging and enjoyable, but sometimes distracting, experiences. We translate our findings into a two-dimensional design space between the extent of voluntary control that a physiological measure can provide against the level of conscious awareness that the user has of that control. This highlights that novel design opportunities exist when deviating from these two-dimensions - when giving up conscious control and when abstracting the affect of control. Reflection on of how viewers negotiated this space during an experience reveals novel design tactics.

A users interaction with a film typically involves a One Way Affect (1WA), in which the film being consumed has an affect on the consumer. Recent advances in physiological monitoring technology however has facilitated the notion of a Two Way Affect Loop (2WAL), in which a film piece can be dynamically affected by a consumers physiology or behaviour. This paper outlines an agenda for further investigating 2WAL, setting research questions and the influence of related research areas.

In the overlap between Human-Computer Interaction (HCI) and Cinematics, sits an interest in physiological responses to experiences. Focusing particularly on brain data, Neurocinematics has emerged as a research field using Brain-Computer Interface (BCI) sensors. Where previous work found inter subject correlations (ISC) between brain measurements of people watching movies in constrained conditions using functional magnetic resonance imaging (fMRI), we seek to examine similar responses in more naturalistic settings using functional Near Infrared Spectroscopy (fNIRS). fNIRS has been shown to be highly suitable for HCI studies, being more portable than fMRI and more tolerant of many natural movements than Electroencephalography (EEG). Early results found significant ISC, which gives a lot of hope and potential for using fNIRS in Neurocinematics.

While many still consider interactive movies an unrealistic idea, current delivery platforms like Netflix, commercial VR, and the proliferation of wearable sensors mean that adaptive and responsive entertainment experiences are an immediate reality. Our prior work demonstrated a brain-responsive movie that showed different views of scenes depending on levels of attention and meditation produced by a commercialised home-entertainment brain sensor. Based on lessons learned, this demonstration exhibits the new interactions designed for our new brain-controlled movie, The MOMENT, being released in 2018.

In this paper we present #Scanners, a digital arts installation that aims to bridge the gap between digital arts and neuroscience. #Scanners is an experience in which an individual wears a wireless brain scanners whilst being presented media which is dynamically affected by the individuals physiology. A prototype system has been successfully trialled on roughly 100 users over the past 18 months and has received unanimously positive feedback. We state the minimal additional requirements for demonstrating a Higher Fidelity prototype system and argue the value of including #Scanners at C&C2015.

This paper explores the design space of bio-responsive entertainment, in this case using a film that responds to the brain and blink data of users. A film was created with four parallel channels of footage, where blinking and levels of attention and meditation, as recorded by a commercially available EEG device, affected which footage participants saw. As a performance-led piece of research in the wild, this experience, named #Scanners, was presented at a week long national exhibition in the UK. We examined the experiences of 35 viewers, and found that these forms of partially-involuntary control created engaging and enjoyable, but sometimes distracting, experiences. We translate our findings into a two-dimensional design space between the extent of voluntary control that a physiological measure can provide against the level of conscious awareness that the user has of that control. This highlights that novel design opportunities exist when deviating from these two-dimensions - when giving up conscious control and when abstracting the affect of control. Reflection on of how viewers negotiated this space during an experience reveals novel design tactics.

A users interaction with a film typically involves a One Way Affect (1WA), in which the film being consumed has an affect on the consumer. Recent advances in physiological monitoring technology however has facilitated the notion of a Two Way Affect Loop (2WAL), in which a film piece can be dynamically affected by a consumers physiology or behaviour. This paper outlines an agenda for further investigating 2WAL, setting research questions and the influence of related research areas.

While many still consider interactive movies an unrealistic idea, current delivery platforms like Netflix, commercial VR, and the proliferation of wearable sensors mean that adaptive and responsive entertainment experiences are an immediate reality. Our prior work demonstrated a brain-responsive movie that showed different views of scenes depending on levels of attention and meditation produced by a commercialised home-entertainment brain sensor. Based on lessons learned, this demonstration exhibits the new interactions designed for our new brain-controlled movie, The MOMENT, being released in 2018.

This paper outlines some of the issues that we will be discussing in the workshop “The Design of Future Music Technologies: ‘Sounding Out’ AI, Immersive Experiences & Brain Controlled Interfaces.” Musical creation, performance and consumption is at a crossroads, how will future technologies be affected by exciting and innovative new developments in artificial intelligence, immersive technologies and developing mechanisms for interfacing with music, such as Brain Controlled systems. In many respects this document acts as a mini survey, made up of supporting material, a bibliography of works and offers a series of quotes from work that has mainly emerged from the FAST Project – see: www.semanticaudio.co.uk.

Interactive films have been around for almost a century, yet they have suffered repeatedly from critical, commercial and interactional failings. We propose that brain-computer interfaces can offer interactions with narratives and encourage cinematic engagement by minimising active control. We ask what are the problems inherent to interactive cinema? Can real-time interactions via a brain-computer interface (BCI) construct cinematic content? And how do groups of individuals experience brain-controlled cinema designed for individual, shared or distributed control? Our review of related work motivates the interactional choice of using Passive BCI with real-time cinematic construction to synchronise rhythms of the viewers blinking, Attention and Meditation to the rhythms of cinema. We use the Performance Led Research in-the-Wild methodology to probe public deployments of our films, and we describe user interactions in-the-Wild during screenings of multiple designs of two interactive films: three single user, three multi user, and a live score performance. Our descriptions of BCI mappings to cinematic techniques and production strategies to produce interactive content efficiently contributes to the understanding of practical interactive cinema production. In our results we define 1) different stages of control; discovery, conscious and unconscious, 2) awareness of the affective loop, 3) a shifting prominence of engagement between the narrative, the visual qualities and the agency of users’ interactions. We offer a dynamic view of control; people’s experiences are shifting from awareness of their self, the film, and their control. Our hyper-scanning multi-user study introduces the concept of effects moving across groups, working together to produce engaging experiences, and instances of group members disrupting other’s experience by deciding to unilaterally take control of the film. Our discussion contributes to our understanding of passive interactions with narrative sys

This paper explores the design space of bio-responsive entertainment, in this case using a film that responds to the brain and blink data of users. A film was created with four parallel channels of footage, where blinking and levels of attention and meditation, as recorded by a commercially available EEG device, affected which footage participants saw. As a performance-led piece of research in the wild, this experience, named #Scanners, was presented at a week long national exhibition in the UK. We examined the experiences of 35 viewers, and found that these forms of partially-involuntary control created engaging and enjoyable, but sometimes distracting, experiences. We translate our findings into a two-dimensional design space between the extent of voluntary control that a physiological measure can provide against the level of conscious awareness that the user has of that control. This highlights that novel design opportunities exist when deviating from these two-dimensions - when giving up conscious control and when abstracting the affect of control. Reflection on of how viewers negotiated this space during an experience reveals novel design tactics.

In this paper we present #Scanners, a digital arts installation that aims to bridge the gap between digital arts and neuroscience. #Scanners is an experience in which an individual wears a wireless brain scanners whilst being presented media which is dynamically affected by the individuals physiology. A prototype system has been successfully trialled on roughly 100 users over the past 18 months and has received unanimously positive feedback. We state the minimal additional requirements for demonstrating a Higher Fidelity prototype system and argue the value of including #Scanners at C&C2015.

A users interaction with a film typically involves a One Way Affect (1WA), in which the film being consumed has an affect on the consumer. Recent advances in physiological monitoring technology however has facilitated the notion of a Two Way Affect Loop (2WAL), in which a film piece can be dynamically affected by a consumers physiology or behaviour. This paper outlines an agenda for further investigating 2WAL, setting research questions and the influence of related research areas.

While many still consider interactive movies an unrealistic idea, current delivery platforms like Netflix, commercial VR, and the proliferation of wearable sensors mean that adaptive and responsive entertainment experiences are an immediate reality. Our prior work demonstrated a brain-responsive movie that showed different views of scenes depending on levels of attention and meditation produced by a commercialised home-entertainment brain sensor. Based on lessons learned, this demonstration exhibits the new interactions designed for our new brain-controlled movie, The MOMENT, being released in 2018.

This paper outlines some of the issues that we will be discussing in the workshop “The Design of Future Music Technologies: ‘Sounding Out’ AI, Immersive Experiences & Brain Controlled Interfaces.” Musical creation, performance and consumption is at a crossroads, how will future technologies be affected by exciting and innovative new developments in artificial intelligence, immersive technologies and developing mechanisms for interfacing with music, such as Brain Controlled systems. In many respects this document acts as a mini survey, made up of supporting material, a bibliography of works and offers a series of quotes from work that has mainly emerged from the FAST Project – see: www.semanticaudio.co.uk.

A users interaction with a film typically involves a One Way Affect (1WA), in which the film being consumed has an affect on the consumer. Recent advances in physiological monitoring technology however has facilitated the notion of a Two Way Affect Loop (2WAL), in which a film piece can be dynamically affected by a consumers physiology or behaviour. This paper outlines an agenda for further investigating 2WAL, setting research questions and the influence of related research areas.

In this paper we present #Scanners, a digital arts installation that aims to bridge the gap between digital arts and neuroscience. #Scanners is an experience in which an individual wears a wireless brain scanners whilst being presented media which is dynamically affected by the individuals physiology. A prototype system has been successfully trialled on roughly 100 users over the past 18 months and has received unanimously positive feedback. We state the minimal additional requirements for demonstrating a Higher Fidelity prototype system and argue the value of including #Scanners at C&C2015.

This paper explores the design space of bio-responsive entertainment, in this case using a film that responds to the brain and blink data of users. A film was created with four parallel channels of footage, where blinking and levels of attention and meditation, as recorded by a commercially available EEG device, affected which footage participants saw. As a performance-led piece of research in the wild, this experience, named #Scanners, was presented at a week long national exhibition in the UK. We examined the experiences of 35 viewers, and found that these forms of partially-involuntary control created engaging and enjoyable, but sometimes distracting, experiences. We translate our findings into a two-dimensional design space between the extent of voluntary control that a physiological measure can provide against the level of conscious awareness that the user has of that control. This highlights that novel design opportunities exist when deviating from these two-dimensions - when giving up conscious control and when abstracting the affect of control. Reflection on of how viewers negotiated this space during an experience reveals novel design tactics.