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Titlebook: Brain Art; Brain-Computer Inter Anton Nijholt Book 2019 Springer Nature Switzerland AG 2019 Brain-Computer Interfaces.Multi-party and Hybri

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發(fā)表于 2025-3-21 18:52:52 | 只看該作者 |倒序?yàn)g覽 |閱讀模式
期刊全稱(chēng)Brain Art
期刊簡(jiǎn)稱(chēng)Brain-Computer Inter
影響因子2023Anton Nijholt
視頻videohttp://file.papertrans.cn/191/190130/190130.mp4
發(fā)行地址The first book that surveys how brain activity can be monitored and manipulated for artistic purposes, with contributions by interactive media artists, brain-computer interface researchers, and neuros
圖書(shū)封面Titlebook: Brain Art; Brain-Computer Inter Anton Nijholt Book 2019 Springer Nature Switzerland AG 2019 Brain-Computer Interfaces.Multi-party and Hybri
影響因子.This is the first book on brain-computer interfaces (BCI) that aims to explain how these BCI interfaces can be used for artistic goals. Devices that measure changes in brain activity in various regions of our brain are available and they make it possible to investigate how brain activity is related to experiencing and creating art. Brain activity can also be monitored in order to find out about the affective state of a performer or bystander and use this knowledge to create or adapt an interactive multi-sensorial (audio, visual, tactile) piece of art. Making use of the measured affective state is just one of the possible ways to use BCI for artistic expression. ..We can also stimulate brain activity. It can be evoked externally by exposing our brain to external events, whether they are visual, auditory, or tactile. Knowing about the stimuli and the effect on the brain makes it possible to translate such external stimuli to decisions and commands that help to design, implement, or adapt an artistic performance, or interactive installation. Stimulating brain activity can also be done internally. Brain activity can be voluntarily manipulated and changes can be translated into compute
Pindex Book 2019
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書(shū)目名稱(chēng)Brain Art影響因子(影響力)




書(shū)目名稱(chēng)Brain Art影響因子(影響力)學(xué)科排名




書(shū)目名稱(chēng)Brain Art網(wǎng)絡(luò)公開(kāi)度




書(shū)目名稱(chēng)Brain Art網(wǎng)絡(luò)公開(kāi)度學(xué)科排名




書(shū)目名稱(chēng)Brain Art被引頻次




書(shū)目名稱(chēng)Brain Art被引頻次學(xué)科排名




書(shū)目名稱(chēng)Brain Art年度引用




書(shū)目名稱(chēng)Brain Art年度引用學(xué)科排名




書(shū)目名稱(chēng)Brain Art讀者反饋




書(shū)目名稱(chēng)Brain Art讀者反饋學(xué)科排名




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Brain-Computer Interfaces in Contemporary Art: A State of the Art and TaxonomyCI dating from 1965 to 2018, and present a taxonomy with five categories guiding the discussion of specific BCI artworks: input, mapping, output, format, and the presence of an audience. Moreover, we briefly present and discuss key points about BCI devices used in some of the artworks that are avail
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More Than One—Artistic Explorations with Multi-agent BCIsving multiple participants emerged is discussed. Additional contextualization includes descriptions of the intellectual climate from which ideas about brain biofeedback led to pioneering applications in music and its allied arts. The chapter then proceeds with more in-depth explanations of what are
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Evaluating BCI for Musical Expression: Historical Approaches, Challenges and Benefitsies when considering BCI systems for music composition or performance. Assessing the value of computationally assisted creativity is challenging in most artistic domains, and the assessment of computer assisted (or entirely computer generated) music is no different. BCI provides two unique possibili
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Using Synchrony-Based Neurofeedback in Search of Human Connectednessuss a series of art/neuroscience works that track and visualize the extent to which brainwaves and physiological responses become synchronized between people and their environment. From a neuroscientific point of view, we ask whether such synchrony is ‘meaningful’, i.e., do these data streams (brain
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