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Mobile Brain-Body Imaging and the Neuroscience of Art, Innovation and Creativity 2019 ed. [Pehme köide]

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  • Formaat: Paperback / softback, 221 pages, kõrgus x laius: 279x210 mm, kaal: 695 g, 78 Illustrations, color; 16 Illustrations, black and white; XXIII, 221 p. 94 illus., 78 illus. in color., 1 Paperback / softback
  • Sari: Springer Series on Bio- and Neurosystems 10
  • Ilmumisaeg: 07-Dec-2020
  • Kirjastus: Springer Nature Switzerland AG
  • ISBN-10: 3030243281
  • ISBN-13: 9783030243289
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  • Formaat: Paperback / softback, 221 pages, kõrgus x laius: 279x210 mm, kaal: 695 g, 78 Illustrations, color; 16 Illustrations, black and white; XXIII, 221 p. 94 illus., 78 illus. in color., 1 Paperback / softback
  • Sari: Springer Series on Bio- and Neurosystems 10
  • Ilmumisaeg: 07-Dec-2020
  • Kirjastus: Springer Nature Switzerland AG
  • ISBN-10: 3030243281
  • ISBN-13: 9783030243289
Mobile BrainBody Imaging and the Neuroscience of Art, Innovation and Creativity is a trans-disciplinary, collective, multimedia collaboration that critically uncovers the challenges and opportunities for transformational and innovative research and performance at the nexus of art, science and engineering. 

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 artsscience 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?























Emerging from the 2016 and 2017 International Conferences on Mobile BrainBody Imaging and the Neuroscience of Art, Innovation and Creativity held in Cancun, Mexico and Valencia, Spain to explore these topics, this book intertwines disciplines and investigates not only their individual productsart and databut also something more substantive and unique; the international pool of contributors reveals something larger about humanity by revealing the state of the art in collaboration between arts and sciences and providing an investigational roadmap projected from recent advances.

Mobile BrainBody 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. 
Introduction: The Confluence of Art, Neuroscience, and Creativity Through Mobile Brain-Body Imaging 1(8)
Jose L. Contreras-Vidal
Jesus G. Cruz-Garza
Dario Robleto
Jose M. Azorin
Chang S. Nam
Part I Neuroaesthetics and Creativity: How Do the Creative Arts Engage the Human Mind and Promote Creativity and Innovation Across Fields
Unknown and Solitary Seas: Angelo Mosso's Nineteenth-Century Discovery of Imaging Dreams Through the Cerebral Pulse
9(6)
Dario Robleto
References
14(1)
Art and Neuroscience: A State of the Union
15(8)
Noah Hutton
1 The Universal Aesthetic Object
15(1)
2 A Fateful Encounter
16(3)
3 Toward Future Engagements
19(1)
References
20(3)
Brain Mechanisms of Creativity: What We Know, What We Don't
23(6)
Arne Dietrich
1 How to Study Creativity in the Lab
24(1)
2 The Rocky Horror Pixel Show
24(1)
3 Neuroanatomically-Updated Phrenology
25(1)
4 Where Must We Go from Here?
26(1)
References
27(2)
Theme and Variations as a Window into the Creative Mind
29(14)
Anthony Brandt
1 Introduction
29(1)
2 The Theme and Variations as a Creative Paradigm
30(1)
3 An Example from the Literature: The Variations Movement of Schubert's `Trout Quintet'
31(7)
4 Conclusion
38(1)
Appendix: A Selection of Notable Theme and Variations
38(1)
References
38(5)
Part II How Do the Arts and Sciences Challenge Each Other and Create New Knowledge Through Collaboration?
Art-Science Collaborations: How to Break Boundaries Without Breaking Trust
43(10)
Janet Biggs
Jokubas Ziburkus
Jason L. Eriksen
1 Introduction
43(1)
2 The Conversation
43(8)
3 Impact
51(1)
References
52(1)
Pariesa: Practice and Research in Enactive Sonic Art
53(8)
Lauren Hayes
1 Introduction
53(1)
2 Background
54(1)
3 Bodily Hearing
55(2)
4 Digital Musical Instrument Design
57(2)
5 Conclusion
59(1)
References
59(2)
Into the Mind of an Artist: Convergent Research at the Nexus of Art, Science, and Technology
61(14)
Jesus G. Cruz-Garza
Anastasiya E. Kopteva
Jo Ann Fleischhauer
Jose L. Contreras-Vidal
1 Introduction
61(2)
1.1 Authenticity and Privacy in Science-Art-Engineering Collaborations
62(1)
2 The Artist
63(1)
3 Assaying the Artist's Creative Mind
63(4)
3.1 Pollen Preparation
65(1)
3.2 Olfactory Training
65(1)
3.3 Book and Internet Research
65(1)
3.4 Treadmill Workout
65(2)
4 Headset Usability Metric: Hours of Use Per Day
67(1)
5 Results
67(3)
5.1 Long-Term Usability of MoBI Device in Artwork Practice
69(1)
5.2 Annotating MoBI Datasets
69(1)
6 Discussion
70(1)
7 Labeling of the Artist's Actions
70(2)
7.1 Automatic Artifact Identification and Denoising of EEG Signals
72(1)
7.2 Challenges of the Study
72(1)
References
72(3)
Special Feature: Interdisciplinary Mobile Brain-Body Imaging Art-Science Demonstration
75(4)
Maria Jose Delgadillo
Part III Brain Mechanisms of Aesthetic Perception
How We See Art and How Artists Make It
79(22)
Stephen Grossberg
1 Introduction: From Strokes to Conscious Percepts and Back
79(1)
2 A Step-by-Step Theory of How We See Art and How Artists Make It
79(7)
3 Toward a Mechanistic Understanding of the Aesthetic Struggles of Various Painters
86(2)
4 Neural Models of Boundary Completion by Bipole Cells
88(1)
5 Boundary Formation by the Laminar Circuits of Visual Cortex
89(6)
6 How Do We Consciously See a Painting?
95(3)
References
98(3)
Is Beauty in the Eye of the Beholder or an Objective Truth? A Neuroscientific Answer
101(14)
Hassan Aleem
Maria Pombo
Ivan Correa-Herran
Norberto M. Grzywacz
1 Introduction
101(1)
2 The Processing Fluency Theory and Objectivity in Beauty
102(3)
3 Learning and Motivation as Roots of Subjectivity in Beauty
105(4)
4 Discussion
109(1)
References
109(6)
Part IV Cognitive and Medical Applications: How Can Arts and Neuroscience Research Improve Physical and Mental Health and Promote Wellbeing?
Outcomes of Art Therapy Treatment for Military Service Members with Traumatic Brain Injury and Post-traumatic Stress at the National Intrepid Center of Excellence
115(10)
Melissa S. Walker
1 Art Therapy with Military Service Members
116(2)
2 Art Therapy Programming at the NICoE
118(1)
3 Art Therapy Research Outcomes
119(3)
4 Conclusion
122(1)
References
122(3)
Brain on Art Therapy-Understanding the Connections Between Facilitated Visual Self-expression, Health, and Well-Being
125(10)
Girija Kaimal
1 Artistic Influences: Nature, Nurture, and Heritage
125(1)
2 Receptive and Expressive Art-Making Experiences
125(1)
3 Art-Making and the Predictive Brain
126(1)
4 Art-Making in the Context of Art Therapy
127(1)
5 What Makes Art Therapy Therapeutic?
128(1)
6 Brain-Based Research in Art Therapy: What Can We Track?
129(3)
7 Conclusions
132(1)
References
132(3)
Created Out of Mind: Shaping Perceptions of Dementia Through Art and Science
135(12)
Sebastian J. Crutch
Charles R. Harrison
Emilie V. Brotherhood
Paul M. Camic
Brian Day
Anthony J. Woods
1 Background to the Hub at Wellcome Collection
135(1)
2 Created Out of Mind
136(1)
3 The Importance of Lived Experience: Do I See What You See?
137(1)
4 Recognising the Contributions of Those with a Lived Experience: Am I the Right Way Up?
138(1)
5 Transdisciplinary Extension of the Am I the Right Way Up Project: Single Yellow Lines
139(2)
6 Opportunities with Challenges
141(1)
7 Concluding Remarks
141(1)
References
142(5)
Part V How Disruptive Neurotechnologies Are Changing Science, Arts, and Innovation
The Art, Science, and Engineering of BCI Hackathons
147(10)
Mario Ortiz
Eduardo Ianez
Christoph Guger
Jose M. Azorin
1 Introduction
147(1)
2 Brain to Art Interfaces (B2AI)
147(1)
3 The Design of B2AI Hackathons
148(2)
3.1 Teams and Projects
148(1)
3.2 Materials Available
148(1)
3.3 Development
149(1)
4 The BR4IN.IO Hackathons
150(4)
5 Conclusion
154(1)
References
155(2)
True Integration; the MoBI Hackathon for STEM Informing Arts and Arts Informing STEM
157(4)
Tess Torregrosa
1 Active Learning in Science Education Pedagogy and Its Need in Higher Education
157(1)
2 Active Learning in the Hackathon Environment
157(1)
3 A Personal Experience from the MoBI Hackathon
158(1)
4 Creating a Successful Integrative and Collaborative Hackathon
159(1)
5 Summary: Lessons Learned
159(1)
References
160(1)
Neurofeedback During Creative Expression as a Therapeutic Tool
161(6)
Stephanie M. Scott
Lukas Gehrke
1 Introduction
161(1)
2 Embracing Social Technologies
161(1)
3 Towards Neurofeedback Drawing Canvases
162(1)
4 Proof-of-Concept
162(1)
5 Outlook: The Future of "Neurodata" in Therapeutic and Rehabilitative Settings
163(1)
6 Summary: Experiencing Multidisciplinary
164(1)
7 Summary: Lessons Learned
165(1)
References
165(2)
Do, Re, Mi, and EEG: An Analysis of Imagined and Performed Musical Settings
167(6)
Jorge A. Gaxiola-Tirado
Aaron Colverson
Silvia Moreno
1 Introduction
167(1)
2 Intersection of Art, Science and Engineering/Technology: Challenges and Solutions
167(1)
3 Objective
168(1)
4 Experimental Procedure
168(1)
5 EEG Processing
169(1)
6 Results
170(1)
7 Summary: Lessons Learned
171(1)
8 Conclusion
171(1)
References
171(2)
Improving EEG Form Factor in Order to Alleviate Pediatric Anxiety in Diagnostic Settings
173(6)
Justin Tanner
Shane Esola
Kenneth Veldman
1 Problem Description
173(1)
2 Challenges
173(2)
3 Solution
175(1)
4 Summary: Bridging Art and Science
176(1)
References
177(2)
Analyzing EEG During the Painting Process
179(4)
Shane Esola
Justin Tanner
Kenneth Veldman
1 Introduction
179(1)
2 Discussion
179(2)
3 Summary: Bridging Art and Science
181(1)
References
182(1)
Paint with Brainwaves--A Step Towards a Low Brain Effort Active BCI Painting Prototype
183(6)
Andreas Wulff-Abramsson
Adam Lopez
Luis Antonio Mercado Cerda
1 Introduction
183(1)
2 Related Works
183(1)
3 The Prototype
184(2)
3.1 Setup
184(1)
3.2 Simulink® Patch
184(1)
3.3 Unity® Program
184(1)
3.4 Initial Tryout
185(1)
4 Discussion
186(1)
5 Conclusion
187(1)
6 Summary: Lessons Learned
187(1)
References
187(2)
Mediated Interdependence in Motion: A Co-op Augmented Reality (AR) and Brain-Computer Interface (BCI) Installation
189(10)
Guillermo Herrera-Arcos
Daniel Pimentel
1 Introduction
189(1)
2 Literature Review
189(2)
2.1 Trust and Cooperation
189(1)
2.2 Empathy and Social Play
190(1)
2.3 Augmented Reality (AR)
190(1)
2.4 EEG-Based Brain-Computer Interfaces (BCI)
190(1)
2.5 Robotic Agents
191(1)
3 Methods
191(1)
3.1 The Installation: Art of War
191(1)
4 Discussion
192(1)
5 Summary: Lessons Learned
193(1)
References
194(5)
Part VI How Can the Arts and Neuroscience Describe and Promote the Processes of Learning and Creativity in K-12 and Higher Education?
The Arts, Creativity, and Learning: From Research to Practice
199(8)
Mariale M. Hardiman
1 Arts Integration and Learning
199(2)
2 Linking the Arts, Neuro-Cognitive Research, and Creativity
201(2)
3 Educational Practices and Policies
203(2)
References
205(2)
Intersectionality: The Confluence of Arts, Technology, and Wellbeing
207(8)
Laurie Baefsky
Jill Sonke
1 Arts, Health and Wellbeing
207(2)
2 Brain Science, Health, and Community
209(1)
3 Social Impact
209(1)
4 Modernity, Technology, and Global Considerations: The Case for Realignment
210(1)
References
211(4)
Part VII The Future of Neuroaesthetics
Towards a Roadmap for Neuroaesthetics
215(6)
Jose L. Contreras-Vidal
Dario Robleto
Jesus G. Cruz-Garza
1 On the Value of Art/Science Collaborations
215(1)
2 The Need for Convergent Research on Neuroaesthetics
216(1)
3 Going Forward
216(3)
3.1 Individuality and Variance in Human Behavior Must Be Taken into Account
217(1)
3.2 Artificial Intelligence (AI) Approaches May Be Harnessed to Understand Individuality in Creativity and Aesthetic Experiences in Health and Disease
217(1)
3.3 Bridging Communication Between Artists and Scientists
217(1)
3.4 Developing Metrics for Neuroaesthetics Collaborations
218(1)
3.5 Artistic Brain-Computer Interface (BCI) Hackathons
219(1)
4 Conclusion
219(1)
References
219(2)
Appendix 221
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.Dr. Contreras-Vidals research focuses on neural, cognitive and rehabilitation engineering, and the design of noninvasive brain-machine interfaces (BMI) and wearable and therapeutical robotics to restore, augment or assist whole body movement after physical injury or neurological conditions. His laboratory has pioneered the development of noninvasive BMI systems based on scalp EEG to control motorized exoskeletons and robotic prosthetic limbs to restore motor function in individuals with spinal cord injury, stroke and limb amputation. His team has also developed experimental and computational approaches to acquire brain activity in action and in context in complex real settings using context-aware mobile brain-body imaging (MoBI) technology to study aesthetics, creativity and innovation. Dr. Contreras-Vidal has pioneered the concept of The Museum as a Public Laboratory to understand brain dynamics in freely behaving individuals. Dr. Contreras-Vidals research has been supported by the National Institutes of Health, the National Science Foundation, the VA, ONR, the Cullen Foundation, Mission Connect - TIRR Foundation, and industry. He is in the editorial board of IEEE Human-Machine Systems, International Journal Mobile Human Computer Interaction, Frontiers in Neuroprosthetics, Applied Bionics and Biomechanics, Brain Computer Interfaces, and was a Guest Editor of an Special Issue on Mobile Brain-Body Imaging and the Neuroscience of Art, Creativity and Innovation in the journal Frontiers in Human Neuroscience. He was Chair/Co-Chair of the 2016/2017 International Conferences on Mobile Brain-Body Imaging and the Neuroscience of Art, Creativity and Innovation. Dr. Contreras-Vidals research has reached specialized audiences and the general public through news and views reports published and/or highlighted by The Economist, Nature, Science News, Der Spiegel, National Science Foundation, Wall Street Journal, the Society for Neuroscience, O&P, Science, Nature, Scientific American, NPRs Science Friday, and Neurology Today among others. His career development in biomedical engineering has been highlighted in the magazine Science. 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 Messagea 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 Houstons 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 fromthe 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 SystemsEngineering 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.