EEG KISS: Shared Multi-modal, Multi Brain Computer Interface Experience, in Public Space

Abstract

Can shared intimate experience of social touch be mediated through multibrain-computer interface (Multi-brain BCI) interaction in public space? Two artistic EEG KISS orchestrations, both multi-modal, multi-brain BCIs, are shown to create novel shared experiences of social touch in public space. These orchestrations purposefully disrupt and translate known forms of face-to-face connection and sound, to re-orchestrate unfamiliar sensory syntheses of seeing, hearing, touching and moving, connected to data-visualization and audification of brain activity. The familiar sensory relations between 'who you kiss and who is being kissed, what you see and what you hear' are captured in a model of digital synaesthetics in multi-modal multi brain BCI interaction for social touch. This model links hosted self-disclosure, witnessing, dialogue and reflection to intimate experience in public space through syntheses of the senses. As such, this model facilitates the design of new shared intimate experiences of multi modal multi brain BCI interaction through social touch in public space.

Hosting Social Touch in Public Space of Merging Realities

“…Multi-sensory orchestrations of social touch have been designed and performed in public spaces. In these orchestrations, shared sense making and reflection of social context and experience of embodiment through dialogue with a (human) performance host is explored (Lancel et al 2019a(Lancel et al , 2019b(Lancel et al , 2019c(Lancel et al , 2019d. In three experiments with the Saving Face (2012) and Master Touch (2013) orchestrations in Amsterdam, Berlin-Dessau and Beijing, the effects of different hosting designs have been explored and analysed.…”

“…through prosthetics) and indirect corporeal interaction (between actors and spectators), or in combination. 4 Examples of interaction design aiming at supporting 'a perceptual illusion of non-mediation' of touch can be found in different applications for (combined) virtual and augmented realities and robotics, for gaming design, art, entertainment, training, therapy, sex, gaming, robotics (Erp and Toet 2015, Huisman 2017, Lancel et al 2019d). 5 Patented artificial skin compositions attempting to evoke experience of presence in the form of perceptual realism, include Cyberskin, Futurotic.…”

“…The host engages and exposes processes of sensemaking, through stimulating guests to make personal and intimate stories explicit, within conventions of debate, romance or therapy (Livingstone and Lunt 2002). Design of hosting in public space of merging realities, for mediating social touch for participants in interplay with each other, has been explored in digital performance art (Lancel et al 2019a(Lancel et al , 2019b(Lancel et al , 2019c(Lancel et al , 2019d. In different trajectories of 'intimate aesthetics' (Loke and Khut 2014), in their artistic orchestrations, Lancel and Maat include hosting, to 1) introduce the orchestration and guiding participants through performance and 2) ensure social and corporal safety and 3) exposing dialogue that facilitates sense making and shared reflection through descriptive self-disclosure in proximity to others.…”

“…Artistic orchestrations by Lancel/Maat (2000 show that demanded social context, for sense making and clarifying meaning of social touch in public spaces, can be performed by such role of hosting (Lancel et al 2019a(Lancel et al , 2019b(Lancel et al , 2019c(Lancel et al , 2019d.…”

“…Different artistic orchestrations, in different cultural and geographical contexts by Lancel/Maat (Lancel/Maat 2000, have explored the implications of different interaction designs in which a performance host fulfils the role described above. In these orchestrations, the performance host has shown to be able to successfully evoke and mediate dialogue with participants mandating reflection and shared sense making of their embodied experience (Lancel et al 2019a(Lancel et al , 2019b(Lancel et al , 2019c(Lancel et al , 2019d. The question of whether human hosting is essential to social touch was the focus of three experiments with the Saving Face and Master Touch orchestrations for which the effects of different hosting designs have been analysed.…”