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PINK NOISE. EEG Collective Avatar live game concert. 21st Feb 2021. 4pm at CIVA <>

Margarete Jahrmann & Thomas Wagensommerer, coop Louise Linsenbolz, Georg Luif, Stefan Glasauer.

An Area7lab production. Link to performance https://www.civa.at

AVATARA_ collective BrainBand goddess

  • EEG Goddess
  • Player avatar 01
  • Donnerbrunnen view online

In der Pink Noise Brain Jam Session entsteht ein kollektiver Avatar- aus vier EEG playern.

Das Spiel im Thunderdome  — brainwave sound gemixt mit voice samples via vocoder, player triggers soundobjects in brainspace. Die kollektive Avatara (bestehend nicht aus einem sondern aus vier Spieler*innen) ist ein tribute to Tina Turner. Wir sehen sie als goddess of the device mit EEG Brain Stirnband. AVATARA, incarnation of a collective goddess, verändert sich mit den Gedankenmustern aller Spieler*innen.  Like Aunty  referenzieren wir: 

Mad Max, launch part im Jahr 2021. 

We don´t need another hero….  

Wir vocodern gehen wir weiter im PINK noise. Neal Stephensons The diamond age, or, A young lady’s illustrated primer (1995) dient uns als Bauplan für Welt. Der Blueprint eines drei dimensionalen Netzwerks, in dem sich in jeder Facette alle Verbindungspunkte spiegeln…. ist unser AAA ThP playground.

Jede player*in wird als Diamond dargestellt-  in eine Wireframe Bounding Box gerahmt.

  • GodView
  • DesctructionOfWorld
  • DiamondAgeNPCs
  • BoundingBoxInGameEngine
  • PlayerAvatar
  • ConceptDraft

Zum einen bezieht sich die DAMOND Box auf den Realen Sozialen Abstandhalter 2021 — aus Draht gebaut, und als Drahtgittermodell auf die Bounding Box von Avatars in Game Engines.

  • SozialerAbstandhalter. 2020. Kedl, Jahrmann, Glasauer. Location: Pestsäule Wien.

Zum anderen beziehen wir uns auf das  Jewel Net of Indra aus dem Hua-yen Buddhism — zu dem meditation practices der Eingang sind. INHALE/EXHALE:::::::::: run!

Nach dem Login mischen wir uns mit NPCs – 

Jede/r erhält eine Acronym aus 3 Buchstaben: 

Th_P
AAA
HUD
LOL
BRB
AFK
AFK
AKA
WAV
OGG
ALP
BET
DEL
GAM
THE
Alpha Beta Gamma Delta Theta
TPP
CPP

EEG

AUX
P2P
AMP
BIT
SFX

Angespielt startet eine sich ewig wiederholende, rotierende timeline. Sobald wir mit anderen player+s zu nahe am goddess avatar sind, werden wir nach einer bestimmten Inkubationszeit in den God Mode geworden. Wir fliegen – sehen den Thunderplace mit virtuellem Donnerbrunnen von oben. ….

Der Platz zersetzt sich wird wilder schillernd und selbst zu Facetten des diamond networks…. everything is deeply intertwingled!

References:

Hua-yen Buddhism: The Jewel Net of Indra. By Francis H. Cook. University Park and London: The Pennsylvania State University Press (The Institute of Advanced Studies of World Religion Series), 1977. xiv, 141 pp. Notes, Glossary, Index. $ 14.50.

Neal Stephenson: The diamond age, or, A young lady’s illustrated primer. Viking, London 1995, ISBN 0-670-86414-5 (englisch).

Onlinehttps://kingauthor.net/books/Neal%20Stephenson/The%20Diamond%20Age/The%20Diamond%20Age%20-%20Neal%20Stephenson.pdf

Neal Stephenson: Diamond Age. Die Grenzwelt. Goldmann Verlag, München 2001, ISBN 3-442-45154-X (deutsche Neuveröffentlichung)

Alva Noto — 3 Buchstaben Firmenamen
https://youtu.be/bRYWpquWqFY

Filmempfehlung Rainer Werner Fassbinder: Welt am Draht, BRD 1973

Featured

(2021) DAS LUDISCHE MANIFEST. DIE KUNST DES SPIELS UND IHRE GESELLSCHAFTLICHE WIRKUNG./ LUDICS. THE ART OF PLAY AND SOCIETAL IMPACT/

This papers is published in the ZHdK Book: DDE Publikation – Franke Björn (ed.) 2020: Not at Your Service: Manifestos for Design, Zurich. (English und Deutsch in einem pdf).

ABSTRACT

The Art of Play and Societal Impact is introduced in this manifesto as a tool for commenting on and intervening in social and political questions and the challenges of climate change. The design of play objects has an impact on everyday life in society, simply through the presence and daily use of play in relation to our social life and behaviour, has an impact on our daily lives. The impact factor of ludic objects is not measured, but present in discursive reflections in the field of artistic research.

The ludic as a method for rule-driven design elucidates states of play, combines free play, games and rules of play. Conceptual ludic art explores rules of play, systems of investigation and knowledge acquisition through game mechanics, as well as the fundamentals of perception, experience and cognition. The theory and practice of artistic research are concerned with ludic methods of approaching art and science, and epistemic things as insights achieved through arts objects as research vehicles.

Ludic objects are artefacts that trigger discourse and the application of certain rules of research. They constitute an interplay of art and knowledge. Finally, ludic, experimental research games are tied to a certain playful approach toward serious, rule-driven research. Following a ludic method introduces a new trope to artistic research.

Speculative games provide an element of role play, and use performance elements in order to understand the role of the artist, the researcher and the designer. The ludic objective is the idea of playful movement in thinking. It is informed by technologies and cultural techniques of insight, as well as theories, experiments and philosophical conceptions that are connected to the perceived, conceived and lived world.

(English und Deutsch in einem pdf) http://www.margaretejahrmann.net/wp-content/uploads/2020/11/manifestos_200910_jahrmann.pdf

Multiperspectivity (Zoophytosymbiosis)

On the occasion of #CATALIGHT  #KT show: “AUS LICHT UND WASSER. VOM STREBEN NACH »OBERFLÄCHLICHKEIT«.
7th December 2024 till 26th January 2025 at Kunstverein Ulm.

Eine Topfpflanze vertritt in dieser Installation die Welt der Pflanzen. Es ist bekannt, dass Pflanzen auf Berührung reagieren – häufig mit Stress oder Abwehrreaktionen, weil sie Fressfeinde erwarten müssen. Andererseits bewegt auch der sanfte Wind, der für Bestäubung und Vermehrung sorgt, die Blätter. Diese Pflanze darf von Besucher*innen berührt werden, denn sie ist die Berührungsstelle zum Spiel. In der Folge illuminiert UV-Licht ein Muster auf dem Stoff – ein in der Neurowissenschaft routinemäßig verwendeter Farbstoff leuchtet auf.

Tadpole Lamp TnX to Stefan Maier
Tnx to #Vanessa Opoku for playing!
Tadpole, Clawed Frog (Xenopus leavis)
Installation View Kunstverein Ulm TnX2 #Künstlerische Tatsachen
Opening Performance 7th Dec #Kunstverein Ulm
Plant Controller TnX to Georg Luif

“Alexa Fluor 488” wird dafür verwendet, Nervenzellen anzufärben und bildet hier Kaulquappen-Nervenzellen ab. In einem wissenschaftlichen Experiment konnten einzellige Algen Gehirnareale von Kaulquappe des Krallenfrosches (Xenopus laevis) durch Photosynthese von innen mit Sauerstoff versorgen, wenn dem Kaulquappengehirn der Sauerstoff von außen entzogen wurde. Die Algen (Chlamydomonas renhardtii) waren durch Injizieren in das Gefäßsystem zu inneren Mitbewohnerinnen der Kaulquappen gemacht worden. Das Berühren der Pflanze und Auslösen des UV-Lichts in dieser Installation leuchtet die Möglichkeitsräume von “Photosymbiose” aus, die auch menschliches Gewebe mit Sauerstoff versorgen könnte. Die forschende Künstlerin Jahrmann gestaltet und druckt, durch sanftes Streicheln auf dem Stoff, die Nervenzellen als Stoffmuster.

Der Spieltrailer ist eingebettet in ein Setting, das an medizinische Untersuchungen erinnert. Zum einen verbindet Margarete Jahrmann damit ein Ausgeliefertsein. Zum anderen nutzen die Künstlerin und der Neurowissenschaftler Glasauer neurologische Untersuchungen für ihre Forschung zu alternativen Zielen und Belohnungskonzepten im Medium Spiel. Die meist unhinterfragten Mechanismen des Sammelns und Eroberns (collect and conquer) spiegeln unsere westliche Lebensweise auf dem Planeten und reproduzieren sie. Um andere Formen des Zusammenlebens erfahrbar zu machen, sind alternative Spielkonzepte wie “Multiperspectivity” wichtige Räume des Experimentierens und Lernens.

2024-12-09-11-06

Margarete Jahrmann & Stefan Glasauer, Jahr: 2024/25

Materialien: Installation/ Filmessay zum TADPOLE – Addendum “TREEgame”, handgedruckter Stoff mit Alexa Fluor Green, Pflanzenobjekt, Elektroden, Controller Blau-Licht, Untersuchungsliege.
Concept Zeichnung, Stoffdruck und Design/ Konzept Pflanzen Connector Game: Margarete Jahrmann
Controller: Georg Luif
Blue Light Lamp „Tadpole“: Stefan Maier
Tadpole Scary Clip Elements: Louise Linsenbolz.
Film Essay: Stefan Glasauer.

www.linkedin.com/posts/kuenstlerische-tatsachen_als-nächstes-sind-margarete-jahrmann-stefan-activity-7269349649201729537-z-3M

www.kunstverein-ulm.de/ausstellungen/aus-licht-und-wasser-vom-streben-nach-oberflaechlichkeit

CRE[AI]D – A brain aided artistic image liberation game

At A MAZE. Festival 2024 the installation titled Cre[AI]D was showcased, highlighting the intersection of traditional art and artificial intelligence. This installation continuously generates images using AI, trained on the drawings of artist Margarete Jahrmann.

Methodology

Cre[AI]D employs an AI system to produce its images. The first AI is dedicated to the visual output, ensuring that each image reflects the style and characteristics of the original drawings.

The process begins with the second AI, which generates prompts for the image creation. These prompts are derived from five randomly selected words taken from a book, introducing an element of randomness and speculative fiction into the generated art. Even the prompts that generate the images are now generated themselves.

Interactive Element

A significant feature of the Cre[AI]D installation is the large red buzzer present within the exhibit space. When pressed by a visitor, this buzzer initiates the image generation process. This interactive component allows visitors to engage directly with the installation, triggering the creation of new images with each press.

Continuous Image Generation

Cre[AI]D is designed to produce an infinite number of images, ensuring that the exhibit remains dynamic and ever-changing. The continuous generation of new art pieces means that each visitor experiences a unique set of visuals.

What is it like to play a tree @ re:publica24

We care how we play — to test and change this we use methods of artistic research, experimental psychology, and neuroscience in a combination that we term the PSYCHO-LUDIC APPROACH. In play experiments we investigate alternative motivations for game-playing, how we can learn from these about possible future forms of society, and whether, by using new game mechanisms in experimental, playful contexts we may unlock better means of mediating reflection, thoughts, and action, creating a powerful, transdisciplinary basis for ecologically respectful ways of living.

Fotos: Ivan Jakaric/ Cath Spaeth

What is it like to play a tree @ Taipei National University of the Arts & Kuandu Museum of Fine Arts

What is it Like to Play a Tree? Filmessay by Glasauer/Jahrmann, exhibition BECOMING HUMAN IN TIMES OF POST-HUMANISM, Kuandu Museum of Fine Arts, Taipei, Taiwan.

A game film by Stefan Glasauer & Margarete Jahrmann Players and co-developers: Thomas Brandstetter, Max Moswitzer, Clara Hirschmanner, Louise Linsenbolz, Thomas Wagensommerer, Georg Luif

An emanation of the artistic research project The Psycho Ludic Approach: Exploring play for a viable future (AR 787), Austrian Science Fund FWF/PEEK PI Margarete Jahrmann, Experimental Game Cultures, University of Applied Arts Vienna Research partners: Brigitte Felderer, Social Design, University of Applied Arts Vienna Matthew Pelowski, Dept. of Cognition, Emotion, and Methods in Psychology, University of Vienna Stefan Glasauer, Computational Neuroscience, Brandenburg University of Technology, Cottbus, Germany Premiered June 2024 @Kuandu Museum of Fine Arts in Kooperation mit der Taipei National University of the Arts

MIND CLOUDS Experimental Game performance& installation – manipulating weather thoughts

Mindcloud session, Margarete Jahrmann, June 2021 – August 2022.

Cloud Latent Walk App von Thomas Wagensommerer, Brainwave EEG Software von Stefan Glasauer, Kupferobjekt von Talos Kedl. Neurointerface-Theremin mit EEG Elektroden, Wolken Generator, Echtzeit Brainwave Frequenzbandanalyse, spielbarer Prototyp.

MIND CLOUDS Game experiment in rainbow spectrum – manipulating weather thoughts! 

mindclouds performance@prater atelier
mindclouds performance@prater atelier

Im Sinne einer künstlerisch forschenden Ludic Method entsteht eine performative Installation aus ephemeren Hirndaten:        ____ Momentaufnahmen des Denkens erscheinen als flüchtige Wolken. Die Installation verbindet hybrid Orte und Diskursobjekte über gedankliche Wege und emotionale «SCHRITTE» zwischen wissenschaftlichem Experiment und experimentellem Spiel — Verstehen und Denken im Flow!  

Der “Copper Thought Helmet- A weather attractor” des Bildhauers Talos Kedl wird zu einem EEG Theremin. Mit feuchtem Elektrolyt Gel verbinden wir uns leitend mit dem Kunstobjekt und lassen ein partizipatives Gedanken Spiel zwischen Donner und Blitz entstehen.

poivre… der Krake
pouivre
The copper thought helmet by Talos Kedl

Standort:                 Universität für Angewandte Kunst, Vordere Zollamtsstraße 7, 1030 Wien, Raum 001 (EG)

RESET: Roland Rainer Siedlung Mauerberg 2022

Mind-Cloud-Gaming im Wolkenbüro 

Im Wolkenbüro im Prateratelier spielen wir in einer Wettermediation mit ephemeren Wolken-Formationen, die immer neu aus EEG Daten entstehen. Die ebenso flüchtigen EEG Signale verbinden wir mit skulpturalen nonhumanen Aktanten. 

non human actant- FIVE brainwaves frequencies split - from ALPHA to THETA
non human actant

Standort:                 Zentrum Fokus Forschung, Rustenschacherallee 2–4, 1020 Wien

29. – 2. Juli 2021 at die AngewandteFestival, part of ZFF RESEARCH SHOW_ Vorder Zollamtsstrasse 7, 1010 Wien und im Prateratelier “Pratercube” & Gardens

Ludic Meanders through Defictionalization: The Narrative Mechanics of Art Games in the public spaces of politics.

Published in: Beat Suter, Renè Bauer, Mela Kocher (eds.), (2021). Narrative Mechanics. Strategies and Meanings in Games and Real Life. What do stories in games have in common with political narratives? Transcript Verlag Zürich.

In the following article we will meander. This is precisely the narrative mechanism that is used to outwit complex content. It happens mainly in public space online, in the agora of politics, and physically in the arena of the urban games in our daily lives, which has changed drastically in the times of the pandemic.

http://www.margaretejahrmann.net/wp-content/uploads/2021/04/2021_BookChapter_LudicMeander_Jahrmann_Margarete.pdf

EYE_level/ Console game. Amaze PlayfulMediaFestival

Margarete Jahrmann& Thomas Wagensommerer. voice/text: Jahrmann& Martin Kaiser/ Kinshasa

Ludic work, Game und Installation, featured at exhibition AMAZE 2018.

commissioned by Andreas Lange, Computerspielemuseum Berlin/ Hauptstadt Kulturfonds Berlin.

  • Neuroflow embraces brain wave analysis and meditation as game mechanics. 
  • The game art piece is an emanation of the Neurospace performance-series, staged as research LARP (thanks to Herwig Kopp, Berlin) in 2017 at Computerspielemuseum Berlin, funded by Capital Cultural Fund Germany.
Fly through, Level1
  • EYE Level
  • artists brain in resting state
  • EYE capture/source
  • A. Lange, commissioner
TEXT/ Voice over used by several Player Avatars, NPCs:

THE CRAB ORACLE: Exploiting the bootstrap method or pre-enactment in space habitats
Margarete Jahrmann& Marian Kaiser
 
 
Predicting the future is an essential function of the nervous system. (Human physiological measures anticipate what seem to be unpredictable future events by deviating from a baseline before an event occurs, in the same direction that they will continue to deviate after that event occurs. )
 
Introducing the bootstrap method: The appeal of the bootstrap is that we can use it to make an inference about some experimental result when the statistical theory is uncertain or even unknown. … The bootstrap gives us an empirical approach to estimate the theoretical variability among possible values of a sample… The beauty of the bootstrap is that it can transcend theory: we can use the bootstrap to make an inference about some experimental result when the theory is uncertain or even unknown.
 
 
I have been here for a year, now. Watching my decision demons on autopilot. The Simulation: Data for the Bootstrap!
 Extreme inner states emerge and disappear. I’m my future’s very own electromagnetic material. I eat, I sleep, I train. A movement a day. A different one every day. For 5 days. Then a 2-day recap. The next week, another 5. For 5 weeks, then 2 weeks of recap. After 357 days, I have an arsenal of 255 possible movements. 
 
presentiment
More recently, two articles in Frontiers in Psychology and Frontiers in Human Neuroscience reported a meta-analysis of experiments on “predictive anticipatory activity” or “presentiment”(Mossbridgeetal.,2012, 2014). 
 
Pre-cogonition. Pre-sentiment. Sure. But what does it mean to pre-enact? There is a German word, I cannot translate. Vorahmung. If there is Nachahmung, there has to be Vorahmung. To anticipate a movement that might be enacted in the future, to pre-serve it. Move like you might have to move, without enacting the movement. Train your body for a state to come in an environment, you can’t yet enter. A potential gesture. A contingent twitch. Minimal. 
 
Déja vecu: to claim to recollect past “experiences” that are actually novel.
 
Disordered memory awareness: recollective confabulation in two cases of persistent déjà vecu. Neuropsychologia- Naurutica?
 
Two days, before we locked the doors, the examiner told me, how the research had started back in the day. About the famous Israeli dancer, who had invented a notation system that would address every single limb. And how the first American space suits were developed on the basis of her system. The astronauts were the first to train possible future movements for an environment, they could not simulate. But they were still training for a surrounding they could anticipate. These days, you have to be your own environment. Take yourself to the stars. Or where ever. There is no outside.
 
scientific method, falsifiability, Parsimony, precognition, presentiment 
 
I watch my brain waves enter future states on the screen and take posture. It’s a bit like method acting. Only, you don’t look for an experience from your past, but one you haven’t yet made. If you substract pattern recognition and the decoding system from your perception apparatus, what remains, is the bliss of the real. Noisy, a rush, everything at once. Plug in and drop out of the world. To prepare for the experiment, we would inject ourselves with a subnarcotic dose of an anaesthetic, originally developed to be used on animals. Once we did, we understood, what an-aesthetic is. To exist in a space without images or structures. In an-aesthetics, all you do, is play. 
 
constructive episodic simulation hypothesis: neuroimaging studies have revealed striking overlap in the neural processes that are engaged when people remember past events and imagine future events or novel scene. One of the most intriguing findings from neuroimaging studies that is relevant to the constructive episodic simulation hypothesis concerns the robust activation of the hippocampus—a region that has long been implicated in memory—when individuals imagine or simulate future events.
 
The misunderstanding about oracles has always been, that they might provide an answer. But a movement is not about arriving in a position, but what happens in-between positions. There used to be a common crab oracle on pacific islands. You sit on a stony beach, formations of black rock run into the sea, warped like a manic parking space, consisting mainly of holes. You drop a gleaming white stone into one of the curvy tunnels. Within an instant, thousands of crabs shoot out of the stone, in curves and circles, over one another, into the water. Three days later, you do it again.
 
Brain hack: What impact will psychometric data have on the financial world?
 a recent development (8,11–16) that evolved from the jackknife
 
 
 We conclude that to further examine this currently unexplained anticipatory activity, multiple replications arising from different laboratories using the same methods are necessary. The cause of this anticipatory activity, which undoubtedly lies within the realm of natural physical processes (as opposed to supernatural or paranormal ones), remains to be determined. 
 
 
thermodynamics suggest a single direction for causality; causes normally precede effects. For these reasons, physiological effects preceding a subsequent cause are not generally assumed to exist, and are therefore not usually examined.
 
Papers used: 
 
Ruth M.J. Byrne, Counterfactual Thought. School of Psychology and Institute of Neuroscience, Trinity College Dublin, University of Dublin. In: Annu. Rev. Psychol. 2016. 67:135–57
 
Explorations in statistics: the bootstrap
Douglas Curran-Everett, Division of Biostatistics and Bioinformatics, National Jewish Health, and Department of Biostatistics and Informatics and Department of Physiology and Biophysics, School of Medicine, University of Colorado Denver, Denver, Colorado
Submitted 20 July 2009; accepted in final form 4 September 2009
 
Predictive physiological anticipation preceding seemingly unpredictable stimuli: a meta-analysis Julia Mossbridge1*, PatrizioTressoldi 2 and Jessica Utts3 , In:F rontiers of Psychology, 2012
 
Daniel L. Schacter, Constructive memory: past and future. 2012 S t a t e o f t h e a r t
 
Nonparametric
approaches to inter-subject correlation analysis at the group level. Gang Chen a,⁎, Yong-Wook Shinb,⁎, Paul A. Taylor a, Daniel R. Glen a, Richard C. Reynolds, Robert B. Israel c, Robert W. Cox. NeuroImage journal homepage: www.elsevier.com/locate/ynimg
 
“Preenaction – Spielbasierte Experimentalsysteme” (Daniela Kuka) und Timothee Ingen-Housz) an der Universität der Künste Berlin, 2013, http://preenaction.de/referenzen/publikationen/
 
Kuka, D.: Das Spiel als Methode – mögliche Zukünfte des urbanen Raums. … Privatization and the Loss of Urbanity, eds. content.associates, Wien 2013
 
Preenacting Europe, Interrobang Theater, Sophiensæle Berlin, 2014
http://www.doppelpass.kulturstiftung-bund.de/projekt/preenactment
 

wirebrain of/for 2 players. Standalone App 2021

interactive dynamic brainwave sculpture/3D film game

Margarete Jahrmann & Stefan Glasauer 2021

About 20 min of interactive 3D replay of an online brainwave performance recorded on January 22, 2021. 

20 min playtime. Drag over object -> HUD menu appears. Rotate, move, zoom the object – and take screenshots of Your favorite state of mind!

  • Wirebrain HUD
  • livewirebrain show 2021

WIREBRAIN was generated through the use of two consumer EEG devices (muse) and a home-brew Matlab App during an online connected remote session with a third EEG user. Watch performance on the Neuromatic youtube channel! 

https://www.youtube.com/watch?v=9tz9rZqOLZw

APP DOWNLOAD link – attention, big file, but playable!

https://base.uni-ak.ac.at/cloud/index.php/s/8e2pTAFsDohZoja

Area7lab statement on wirebrain:

Brain-computer interfaces are increasingly available as consumer versions using a low number of electrodes. Currently, the main use of such devices is in aiding meditation practices via biofeedback using frequency analysis of the measured EEG. 

Our alternative approach opens up the use of BCI as “Neuromatic Devices”, as tools that can be used beyond current utilization as instrument for scientific measurement or, in its consumer version, for self-optimizing. 

Here we present the “Neuromatic Brainwave Broadcast”, a series of online live performances using consumer BCIs that we have developed over the last year and that has been streamed first daily, then weekly on YouTube. The broadcast works as public experiment in which spectators can interact rather than watch passively, which blurs the borders between experimenter, performer, and test subject, at the same time revealing failures and technical problems and making them part of the experience rather hiding and discarding them. 

During the broadcast, raw EEG signals from the consumer BCIs worn by two or more remotely connected participants are sent (via a combination of bluetooth and UDP) together with simultaneously captured video of the participants to a central computer. There, real-time visualizations of the EEG signal (implemented via custom-written Matlab code), the video images, text output of the software, and written instructions for the participants are composed to a final output that is streamed together with real-time sound generated from the signals to the Neuromatic YouTube channel. The stream serves as necessarily delayed bio-feedback for participants wearing devices as well as communication channel for the spectators who can comment and influence the performance via chat. The video streams and snippets from the EEG recordings serve as data trace and documentation of the artistic experiment. 

The artistic research approach applied here to brain-computer interfaces resulted in the development of a publicly open explorative method, the Brainwave Broadcast, which allowed investigating the space of possibilities spanned by the use of different media for transforming BCIs into Neuromatic devices that allow a collective critical reflection of intrusive brain technology.

AAA ThP: ARG ALT Artivism Thunder Play –  CIVA 2021

Margarete Jahrmann & Thomas Wagensommerer, coop Louise Linsenbolz, Georg Luif, Stefan Glasauer.

An Area7lab production.

generative multiplayer EEG Brainpainting based sound game,

commissioned by and exhibited at the first edition of

CIVA FESTIVAL Contemporary Immersive Virtual Art 2021 civa.at

(opening performance LIVE play February 21st 2021)

Multiplayer environment, EEG generated mind sculpture of 4 live players, generative sound environment, brainwave object, photogrammteric environment for live performance mit EEG interfaces, including a simulation of a model of bounding boxes, pandemic infection, spatial distance and mental closeness — in a disruptive eroding world. 

Photogrammetric startscene- Donnerbunnen Vienna.

Beside the performance sessions the environment can be entered, a stored version of a brain data object serves as interactive playground/ multiuser game with the aim to foster an implosion into a de-constructivist experience around the Donner Brunnen as historic Vienna site of social contact, exhibition, and erotic attraction, where a new virtual fountain sculpture is generated live by 4 EEG players. Come and participate in the concert at Thunderdome Donnerbrunnen –  we play since the time of the wireframe crinoline in the 17th hundreds till the 3D game engine bounding box into real life social distance and collective avatar framing of social interaction.