Mobile Brain-Body Imaging and the Neuroscience of Art, Innovation and Creativity (eBook)
XXIII, 221 Seiten
Springer International Publishing (Verlag)
978-3-030-24326-5 (ISBN)
This book addresses a set of universal and timeless questions with a profound impact on the human condition:
- How do the creative arts and aesthetic experiences engage the brain and mind and promote innovation?
- How do arts-science collaborations employ aesthetics as a means of problem-solving and thereby create meaning?
- How can the creative arts and neuroscience advance understanding of individuality and social cognition, improve health and promote life-long learning?
- How are neurotechnologies changing science and artistic expression?
- How are the arts and citizen science innovating neuroscience studies, informal learning and outreach in the public sphere?
Mobile Brain-Body Imaging and the Neuroscience of Art, Innovation and Creativity is written for academic researchers, professionals working in industrial and clinical centers, independent researchers and artists from the performing arts, and other readers interested in understanding emergent innovations at the nexus of art, science, engineering, medicine and the humanities. The book contains language, design features (illustrations, diagrams) to develop a conversational bridge between the disciplines involved supplemented by access to video, artistic presentations and the results of a hackathon from the MoBI conferences.
Dr. Jose L. Contreras-Vidal is the Hugh Roy and Lillie Cranz Cullen Distinguished Professor of Electrical & Computer Engineering, Site Director for the National Science Foundation Industry-University Collaborative Research Center on Building Reliable Advances and Innovations in Neurotechnologies (IUCRC BRAIN), and Director of the Laboratory for Noninvasive Brain-Machine Interface Systems at the University of Houston. He is also a Full Affiliate in the Department of Neurosurgery at the Houston Methodist Hospital and a Distinguished Visiting Professor at the Tecnologico de Monterrey, Mexico.
Dario Robleto received his BFA from the University of Texas at San Antonio in 1997. The Houston-based artist has had numerous solo exhibitions since 1997, most recently at the Menil Collection, Houston, TX (2014); the Baltimore Museum of Art (2014); the New Orleans Museum of Art (2012); and the Museum of Contemporary Art, Denver (2011). His work has been profiled in numerous publications and media including Radiolab, Krista Tippet's On Being, and the New York Times. In 2008 a 10-year survey exhibition, Alloy of Love, was organized by the Frances Young Tang Teaching Museum and Art Gallery at Skidmore College, Saratoga Springs, New York. Accompanied by a major monograph, Alloy of Love traveled to the Frye Art Museum in Seattle, Washington.
Notable group shows include Prospect 4: The Lotus In Spite of the Swamp, New Orleans, LA (2017); Explode Every Day: An Inquiry into the Phenomena of Wonder, MASS MoCA, North Adams, MA (2016); SITE: 20 Years/20 Shows, SITE Santa Fe, NM(2015); Nouveau Festival 5th Edition, Centre Pompidou, Paris, FR (2014); The Record/Contemporary Art and Vinyl, Nasher Museum of Art, Durham, NC (2011); The Old, Weird America, Contemporary Arts Museum, Houston, TX (2008); and Whitney Biennial, Whitney Museum of American Art, New York, NY (2004).Robleto has been a visiting artist and lecturer at many universities and institutions including Bard College, Annandale-on-Hudson, NY; Massachusetts Institute of Technology, Cambridge, MA; Rhode Island School of Design, Providence, RI; and the Hubble Space Telescope Science Institute, Baltimore, MD. In 2013-14 he served as the California College of the Arts Viola Frey Distinguished Visiting Professor, Oakland, CA.
His awards have included the International Association of Art Critics Award for best exhibition in a commercial gallery at the national level (2004) and recipient of both the Joan Mitchell Foundation Grant (2007) and the USA Rasmuson Fellowship (2009). He has been a research fellow and artist in resident at institutions such as the Menil Collection (2014); the Cynthia Woods Mitchell Center for the Arts (2014); Rice University (2013-14); the Smithsonian Museum of American History (2011); the SETI Institute (2016-17); and the Robert Rauschenberg Foundation (2017). In 2016 and 2017 he was a co-organizer of the International Conference on Mobile Brain-Body Imaging and the Neuroscience of Art, Innovation, and Creativity in Cancun, Mexico and Valencia, Spain.
In 2015 he joined a distinguished team of scientists as the artistic consultant to 'Breakthrough Message'-a multi-national effort that aims to encourage intellectual and technical debate about how and what to communicate if the current search for intelligent beings beyond Earth is successful. He is currently serving as an Artist-in-Residence in Neuroaesthetics at the University of Houston's Cullen College of Engineering and as Artist-at-Large at Northwestern University's McCormick School of Engineering and the Block Museum of Art. In 2016 he was appointed as the Texas State Artist Laureate. He is a former board member of Artpace, San Antonio and a current board member of the Nasher Museum of Art at Duke University.
Jesus G. Cruz-Garza is a PhD candidate at the University of Houston, in the department of Electrical and Computer Engineering. He is the recipient of the University of Houston - Houstom Methodist Research Institute Graduate Fellowship for Translational Neuroscience, in which he developed methods for data collection and analysis in real world settings to explore the human creative process using mobile brain-body imaging systems. He was the designated student leader for documentation and compilation of information from the 2017 International Conference on Mobile Brain-Body Imaging and the Neuroscience of Art, Innovation and Creativity held in Valencia, Spain. Jesus is the President of the IEEE Houston BRAIN Group.
Dr. José M. Azorín is the Director of the Brain-Machine Interface Systems Lab and Professor of the Systems Engineering and Automation Department at Miguel Hernández University of Elche (Spain). He holds a M.Sc in Computer Science from the University of Alicante (1997, Spain) and a Ph.D. in Robotics (Award for the Best Thesis of the Department) by the UMH (2003, Spain). He has been a visiting researcher at the University of Houston, USA (Fulbright grant), at Imperial College London (United Kingdom) and at INRIA - Sophia Antipolis (France). His current research interests are Brain-Machine Interfaces, Neuro-robotics and Rehabilitation Robotics. Over the last years, his research has been funded by prestigious grants from the European Union and other Spanish government agencies. He has been the PI of more than 10 research projects, and his research has resulted in more than 150 technical papers and 3 patents. He was the Chair of the 2017 International Conference on Mobile Brain-Body Imaging and the Neuroscience of Art, Innovation and Creativity. Currently, he is a Distinguished Lecturer of the IEEE Systems Council. Dr. Chang S. Nam is currently a professor of Edward P. Fitts Industrial and Systems Engineering at North Carolina State University, USA. He is also an associated professor of the UNC/NCSU Joint Department of Biomedical Engineering as well as Department of Psychology. He received a PhD from the Grado Department of Industrial and Systems Engineering at Virginia Tech in 2003. He teaches and conducts basic and applied research in human factors and ergonomics engineering to advance the science of Human-Computer Interaction (HCI) with a broad prospective on the application of systems and information engineering to human-centered technologies, including brain-computer interface and neurorehabilitation, wearable sensor-based remote healthcare, neuroergonomics, and adaptive and intelligent human-computer interaction. His research has been supported by federal agencies including National Science Foundation (NSF), Air Force Research Laboratory (AFRL) and National Security Agency (NSA). Dr. Nam has received the NSF CAREER Award (2010), Outstanding Researcher Award (2010-2011), and Best Teacher Award (2010-2011). Currently, Nam serves as the Editor-in-Chief of the journal Brain-Computer Interfaces.Series Editor’s Foreword 6
Foreword 6
Contents 11
Editors and Contributors 17
Abbreviations 11
1 Introduction: The Confluence of Art, Neuroscience, and Creativity Through Mobile Brain–Body Imaging 24
Neuroaesthetics and Creativity: How Do the Creative Arts Engage the Human Mind and Promote Creativity and Innovation Across Fields 27
Ideas Come from the Unexpected 28
2 Unknown and Solitary Seas: Angelo Mosso’s Nineteenth-Century Discovery of Imaging Dreams Through the Cerebral Pulse 31
References 36
3 Art and Neuroscience: A State of the Union 37
1 The Universal Aesthetic Object 37
2 A Fateful Encounter 38
3 Toward Future Engagements 41
References 42
4 Brain Mechanisms of Creativity: What We Know, What We Don’t 44
1 How to Study Creativity in the Lab 45
2 The Rocky Horror Pixel Show 45
3 Neuroanatomically-Updated Phrenology 46
4 Where Must We Go from Here? 47
References 48
5 Theme and Variations as a Window into the Creative Mind 50
1 Introduction 50
2 The Theme and Variations as a Creative Paradigm 51
3 An Example from the Literature: The Variations Movement of Schubert’s “Trout Quintet” 52
4 Conclusion 59
Appendix: A Selection of Notable Theme and Variations 59
References 59
How Do the Arts and Sciences Challenge Each Other and Create New Knowledge Through Collaboration? 61
6 Art-Science Collaborations: How to Break Boundaries Without Breaking Trust 63
1 Introduction 63
2 The Conversation 63
3 Impact 71
References 72
7 PARIESA: Practice and Research in Enactive Sonic Art 73
1 Introduction 73
2 Background 74
3 Bodily Hearing 75
4 Digital Musical Instrument Design 77
5 Conclusion 79
Acknowledgements 79
References 79
8 Into the Mind of an Artist: Convergent Research at the Nexus of Art, Science, and Technology 81
1 Introduction 81
1.1 Authenticity and Privacy in Science-Art-Engineering Collaborations 82
2 The Artist 83
3 Assaying the Artist’s Creative Mind 83
3.1 Pollen Preparation 85
3.2 Olfactory Training 85
3.3 Book and Internet Research 85
3.4 Treadmill Workout 85
4 Headset Usability Metric: Hours of Use Per Day 87
5 Results 87
5.1 Long-Term Usability of MoBI Device in Artwork Practice 89
5.2 Annotating MoBI Datasets 89
6 Discussion 90
7 Labeling of the Artist’s Actions 90
7.1 Automatic Artifact Identification and Denoising of EEG Signals 92
7.2 Challenges of the Study 92
Acknowledgements 92
References 92
9 Special Feature: Interdisciplinary Mobile Brain–Body Imaging Art-Science Demonstration 95
Brain Mechanisms of Aesthetic Perception 97
10 How We See Art and How Artists Make It 99
1 Introduction: From Strokes to Conscious Percepts and Back 99
2 A Step-by-Step Theory of How We See Art and How Artists Make It 99
3 Toward a Mechanistic Understanding of the Aesthetic Struggles of Various Painters 106
4 Neural Models of Boundary Completion by Bipole Cells 108
5 Boundary Formation by the Laminar Circuits of Visual Cortex 109
6 How Do We Consciously See a Painting? 115
References 118
11 Is Beauty in the Eye of the Beholder or an Objective Truth? A Neuroscientific Answer 120
1 Introduction 120
2 The Processing Fluency Theory and Objectivity in Beauty 121
3 Learning and Motivation as Roots of Subjectivity in Beauty 124
4 Discussion 128
References 128
Cognitive and Medical Applications: How Can Arts and Neuroscience Research Improve Physical and Mental Health and Promote Wellbeing? 130
References 132
12 Outcomes of Art Therapy Treatment for Military Service Members with Traumatic Brain Injury and Post-traumatic Stress at the National Intrepid Center of Excellence 134
1 Art Therapy with Military Service Members 135
2 Art Therapy Programming at the NICoE 137
3 Art Therapy Research Outcomes 138
4 Conclusion 141
References 141
13 Brain on Art Therapy-Understanding the Connections Between Facilitated Visual Self-expression, Health, and Well-Being 144
1 Artistic Influences: Nature, Nurture, and Heritage 144
2 Receptive and Expressive Art-Making Experiences 144
3 Art-Making and the Predictive Brain 145
4 Art-Making in the Context of Art Therapy 146
5 What Makes Art Therapy Therapeutic? 147
6 Brain-Based Research in Art Therapy: What Can We Track? 148
7 Conclusions 151
References 151
14 Created Out of Mind: Shaping Perceptions of Dementia Through Art and Science 153
1 Background to the Hub at Wellcome Collection 153
2 Created Out of Mind 154
3 The Importance of Lived Experience: Do I See What You See? 155
4 Recognising the Contributions of Those with a Lived Experience: Am I the Right Way Up? 156
5 Transdisciplinary Extension of the Am I the Right Way Up Project: Single Yellow Lines 157
6 Opportunities with Challenges 159
7 Concluding Remarks 159
Acknowledgements 160
References 160
How Disruptive Neurotechnologies Are Changing Science, Arts, and Innovation 162
15 The Art, Science, and Engineering of BCI Hackathons 163
1 Introduction 163
2 Brain to Art Interfaces (B2AI) 163
3 The Design of B2AI Hackathons 164
3.1 Teams and Projects 164
3.2 Materials Available 164
3.3 Development 165
4 The BR4IN.IO Hackathons 166
5 Conclusion 170
Acknowledgements 171
References 171
16 True Integration the MoBI Hackathon for STEM Informing Arts and Arts Informing STEM
1 Active Learning in Science Education Pedagogy and Its Need in Higher Education 172
2 Active Learning in the Hackathon Environment 172
3 A Personal Experience from the MoBI Hackathon 173
4 Creating a Successful Integrative and Collaborative Hackathon 174
5 Summary: Lessons Learned 174
References 175
17 Neurofeedback During Creative Expression as a Therapeutic Tool 176
1 Introduction 176
2 Embracing Social Technologies 176
3 Towards Neurofeedback Drawing Canvases 177
4 Proof-of-Concept 177
5 Outlook: The Future of “Neurodata” in Therapeutic and Rehabilitative Settings 178
6 Summary: Experiencing Multidisciplinary 179
7 Summary: Lessons Learned 180
References 180
18 Do, Re, Mi, and EEG: An Analysis of Imagined and Performed Musical Settings 182
1 Introduction 182
2 Intersection of Art, Science and Engineering/Technology: Challenges and Solutions 182
3 Objective 183
4 Experimental Procedure 183
5 EEG Processing 184
6 Results 185
7 Summary: Lessons Learned 186
8 Conclusion 186
Acknowledgements 186
References 186
19 Improving EEG Form Factor in Order to Alleviate Pediatric Anxiety in Diagnostic Settings 187
1 Problem Description 187
2 Challenges 187
3 Solution 189
4 Summary: Bridging Art and Science 190
Acknowledgements 191
References 191
20 Analyzing EEG During the Painting Process 192
1 Introduction 192
2 Discussion 192
3 Summary: Bridging Art and Science 194
Acknowledgements 195
References 195
21 Paint with Brainwaves—A Step Towards a Low Brain Effort Active BCI Painting Prototype 196
1 Introduction 196
2 Related Works 196
3 The Prototype 197
3.1 Setup 197
3.2 Simulink®Patch 197
3.3 Unity®Program 197
3.4 Initial Tryout 198
4 Discussion 199
5 Conclusion 200
6 Summary: Lessons Learned 200
References 200
22 Mediated Interdependence in Motion: A Co-op Augmented Reality (AR) and Brain–Computer Interface (BCI) Installation 202
1 Introduction 202
2 Literature Review 202
2.1 Trust and Cooperation 202
2.2 Empathy and Social Play 203
2.3 Augmented Reality (AR) 203
2.4 EEG-Based Brain–Computer Interfaces (BCI) 203
2.5 Robotic Agents 204
3 Methods 204
3.1 The Installation: Art of War 204
4 Discussion 205
5 Summary: Lessons Learned 206
References 207
How Can the Arts and Neuroscience Describe and Promote the Processes of Learning and Creativity in K-12 and Higher Education? 208
References 208
23 The Arts, Creativity, and Learning: From Research to Practice 211
1 Arts Integration and Learning 211
2 Linking the Arts, Neuro-Cognitive Research, and Creativity 213
3 Educational Practices and Policies 215
Acknowledgements 217
References 217
24 Intersectionality: The Confluence of Arts, Technology, and Wellbeing 219
1 Arts, Health and Wellbeing 219
2 Brain Science, Health, and Community 221
3 Social Impact 221
4 Modernity, Technology, and Global Considerations: The Case for Realignment 222
References 223
The Future of Neuroaesthetics 224
25 Towards a Roadmap for Neuroaesthetics 225
1 On the Value of Art/Science Collaborations 225
2 The Need for Convergent Research on Neuroaesthetics 226
3 Going Forward 226
3.1 Individuality and Variance in Human Behavior Must Be Taken into Account 227
3.2 Artificial Intelligence (AI) Approaches May Be Harnessed to Understand Individuality in Creativity and Aesthetic Experiences in Health and Disease 227
3.3 Bridging Communication Between Artists and Scientists 227
3.4 Developing Metrics for Neuroaesthetics Collaborations 228
3.5 Artistic Brain–Computer Interface (BCI) Hackathons 229
4 Conclusion 229
References 229
Appendix_1 231
| Erscheint lt. Verlag | 15.11.2019 |
|---|---|
| Reihe/Serie | Springer Series on Bio- and Neurosystems | Springer Series on Bio- and Neurosystems |
| Zusatzinfo | XXIII, 221 p. 94 illus., 78 illus. in color. |
| Sprache | englisch |
| Themenwelt | Kunst / Musik / Theater ► Malerei / Plastik |
| Medizin / Pharmazie ► Studium | |
| Technik ► Elektrotechnik / Energietechnik | |
| Schlagworte | art-science collaboration • Brain-computer interfaces • Cognitive Neurosciences • Creative arts • imaging technology • Mobile Brain-Body Imaging • neuroaesthetics |
| ISBN-10 | 3-030-24326-5 / 3030243265 |
| ISBN-13 | 978-3-030-24326-5 / 9783030243265 |
| Haben Sie eine Frage zum Produkt? |
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