Artistic experimental testing using computational modeling of the human brain by Deborah Lawler-Dormer (ISEA2013 Sydney)
Deborah Lawler-Dormer Artistic experimental testing using computational modeling of the human brain.
How are integrated cognitive responses triggered in multisensate environments?
As a new media curator, I work with artistic practices that engage particular perceptual dynamics to create unique environments. Given the increase in mutlisensate environments, and the resultant complex demands made of audiences, the need to better understand these practices is required by artists, their viewers, critics and gallery professionals. I have consequently embarked on a creative practice PhD at both University of Auckland and University of New South Wales examining cognitive perceptual integration in multisensate environments.
In the Laboratory for Animate Technologies at the Auckland Bioengineering Institute, Dr Mark Sagar and his team are building a computational model of the brain and face. Working with research teams at the Centre for Brain Research, these computational models contain current neuroscientific understandings. Dr Mark Sagar is a double academy award winner for his animation in Avatar and King Kong. Sagar states: “We are building a collaborative modular model of the face and brain, a brain and face Lego with swappable and re-shapable parts. Both scientists and artists who want an interactive context to test and visualise their work can design, combine, integrate, inspect, react, be reacted to, and redesign.” This collaborative research initiative involves staff and students from computer science, architecture, neuroscience, engineering and the arts.
This paper looks at this computational brain model and the transdisciplinary collaborative processes that have helped develop it. How is this model useful to transdisciplinary practitioners who want to understand the neural responses to specific types of sensory input? My own personal PhD research will be briefly described and the methodology for testing. In addition, the paper will begin to look at the problematic of using a computational virtual model for artistic testing.
Artistic experimental testing using computational modeling of the human brain by Deborah Lawler-Dormer (ISEA2013 Sydney)
Deborah Lawler-Dormer Artistic experimental testing using computational modeling of the human brain.
How are integrated cognitive responses triggered in multisensate environments?
As a new media curator, I work with artistic practices that engage particular perceptual dynamics to create unique environments. Given the increase in mutlisensate environments, and the resultant complex demands made of audiences, the need to better understand these practices is required by artists, their viewers, critics and gallery professionals. I have consequently embarked on a creative practice PhD at both University of Auckland and University of New South Wales examining cognitive perceptual integration in multisensate environments.
In the Laboratory for Animate Technologies at the Auckland Bioengineering Institute, Dr Mark Sagar and his team are building a computational model of the brain and face. Working with research teams at the Centre for Brain Research, these computational models contain current neuroscientific understandings. Dr Mark Sagar is a double academy award winner for his animation in Avatar and King Kong. Sagar states: “We are building a collaborative modular model of the face and brain, a brain and face Lego with swappable and re-shapable parts. Both scientists and artists who want an interactive context to test and visualise their work can design, combine, integrate, inspect, react, be reacted to, and redesign.” This collaborative research initiative involves staff and students from computer science, architecture, neuroscience, engineering and the arts.
This paper looks at this computational brain model and the transdisciplinary collaborative processes that have helped develop it. How is this model useful to transdisciplinary practitioners who want to understand the neural responses to specific types of sensory input? My own personal PhD research will be briefly described and the methodology for testing. In addition, the paper will begin to look at the problematic of using a computational virtual model for artistic testing.