The new commercial-grade Electroencephalography (EEG)-based BrainComputer Interfaces (BCIs) have led to a phenomenal development of applications across health, entertainment and the arts, while an increasing interest in multi-brain interaction has emerged. In the arts, there is already a number of works that involve the interaction of more than one participants with the use of EEG-based BCIs. H...

This paper takes a look at narrative forms as of yet unexplored in the field of digital interactive storytelling, and proposes methods for how they can be used in engaging ways for the user. Although the various Digital Interactive Storytelling (DIS) prototypes available produce several different story genres, they stem from the same classic narrative form. With this paper, we aim to introduce ...

See Teresa dc Lauretis, 'Aesthetic and Feminist Theory: Rethinking Women's Cinema', New German Critique 34, Winter 1985, pp 154-175. Madame X, a harsh, pitiless beauty, the cruel, uncrowned ruler of the China Seas, launched an appeal to all women willing to exchange an everyday existence of almost unbearable boredom, though safe and easy, for a world of uncertainty and danger, but also full of ...

This paper provides an overview of Digital Cinema including some of the architectural ideas that have been proposed and are being considered. There are a number of security tools that can be used with the goal of secure delivery of motion picture content to the projector. There are many technical and business constraints that guide these designs. Independently, there have been a number of effor...

This paper was presented at the CIC11 conference, Scottsdale, AZ, November 3, 2003 Abstract Full-length feature films for the cinema have been produced by photochemical methods for over 100 years, based on a three-step workflow: original photography, post-production, and release printing. In the last decades of the 20 century digital methods were first introduced for limited specialeffects task...

This article reviews how the concept of “diaspora cinema” has featured in academic discourses over past 30 years, examining its underpinning paradigms. In wake a transnational and postcolonial shift within film studies, been increasingly understood imbrication with Third Cinema, cinema, accented intercultural cinema transvergence, etc. While critically mapping out these descriptive conceptualis...