13:00-17:00, CINETic 2nd Floor 

WORKSHOP: How to handle artefacts in EEG data. Challenges and solutions

Alexandra Huh, PhD (c), CINETic Research Assistant, Bucharest, ROMANIA

One of the biggest challenges we face while conducting EEG research is finding the best solutions in order to create experiments that give us the opportunity to study perception, emotion and cognition in a context close to real life while minimizing the presence of various artefacts (ex. eye blinks, muscle artifacts, electrical noise) that can bias our findings. During the three hours workshop, the participants will have the opportunity to get hands-on experience and work on real data collected in CINETic. They will learn to recognize various types of artefacts and run Independent Component Analyses (ICA) in order to exclude them. Besides the practical ability of using ICA, the participants will also be more aware of the impact artefacts have on the results.


18:00, CINETic Multifunctional Venue (Ground Floor)

CONFERENCE: Emotion and the Brain in actors and the audience

Lore Legrand, PhD, Functional Brain Mapping Laboratory, Neuroscience Department, Geneva, SWITZERLAND

In this talk I will outline the neuronal processes in an actor’s or the audience’s brain while experiencing emotion. After introducing the basics about the brain the focus is set on visual emotion processing. To elucidate the scientific approach on emotion processing, an experimental paradigm showing the means by which emotions can be induced and how the neuronal response is recorded with imaging paradigms is explained. In addition to the presentation of the temporo-spatial dynamics of conscious emotion processing in healthy participants, unconscious emotion processing is illustrated with data from a patient with a very rare condition.



10:00, CINETic 2nd Floor

WORKSHOP: EEG topographic analysis – an ERP and rest application with Cartool

Miralena I. Tomescu, PhD, Functional Brain Mapping Laboratory, Neuroscience Department, Geneva, SWITZERLAND

EEG is a comprehensive and powerful neuroimaging tool that directly maps the brain neuronal activity with reasonable spatial and excellent temporal resolution. As opposed to waveform analysis, the topographic analysis holds important advantages as, for example, it is completely independent of the reference problem. Moreover, by recreating the spatial distribution of the electrical scalp potential field at each moment in time, inferences on the instantaneous changes in distribution and/or orientation of the active dipoles in the brain can be made. Therefore, the topographic analysis provides a direct measure to explore different brain states comparing different populations, cognitive modalities and experimental conditions, investigating brain state modifications in both space and time dimensions. In this atelier we overview the principles of the EEG topographic analysis for both event-related potential and rest applications in neuroscience using an intuitive, user friendly software for EEG analysis named Cartool.


18:00, CINETic Multifunctional Venue (Ground Floor)

PRESENTATION: Neuroimaging in the research of creativity and performing arts

Norbert Jaušovec, PhD, Faculty of Arts, Department of Psychology, University of Maribor, SLOVENIA

The presentation will provide an overview of neuroimaging techniques based on neuro-electric (EEG, MEG) and hemodynamic principles (PET, fMRI, DTI, NIRS). The main principles of each technique will be explained along with examples of research questions addressed using the specific approaches.

The construct of creativity and divergent production will be explained. The relation of the constructs to intelligence will be discussed, as well as tests for measuring the constructs and the related problems in doing so. Main research findings relating brain activity and creativity will be summarized.

The method of neurofeedback and brain computer interfaces (BCI) will be explained.  Examples of the use of these methods in performing arts will be presented.


19:00 CINETic Multifunctional Venue (Ground Floor)

PRESENTATION: Performing arts and neuroscience. Building bridges

Alexandra Huh, PhD (c), CINETic Research Assistant, Bucharest, ROMANIA

During the presentation we will highlight the main areas of research and findings in the interdisciplinary field of performing arts, emotion, cognition and neuroscience. We will discover how neuroscience can help us understand: how people perceive what they see and hear; what makes them feel strong emotions and what makes them empathize with others. The complexity of the human brain and the interplay between emotions and cognition is a challenging field that grows rapidly, helping us understand people, nowadays more than ever. By using methods from the field of cognitive neuroscience, researchers can better explain the mechanisms involved in performing arts and they can improve their technique in order to transmit their message to the audience.



10:00 CINETic 2nd Floor

WORKSHOP: EEG: from data collection and analysis to interpretation

Norbert Jaušovec, PhD, Faculty of Arts, Department of Psychology, University of Maribor, SLOVENIA


The workshop will provide basic principles of EEG brain recording (e.g., recording montages, types of electrodes used; ocular artefact reduction and filtering). The relation of brain activity to coherence and EEG amplitude will be explained.

Analysis in the frequency (FFT, IAF), time domain (ERP) as well as ERD/ERS analysis will be presented. The use of the methods in experimental research will be shown.

Some free available EEG Editing Tools will be presented.

Participants will be encouraged to present their research questions. Possible brain imaging techniques to address them will be discussed.


18:00 CINETic Multifunctional Venue (Ground Floor)

PRESENTATION: Labodanse project (cognitive, physiological and subjective data collection during live dance performances)

Asaf Bachrach, PhD and Dimitri Bayle, PhD, CNRS – Centre national de la recherche scientifique Paris, FRANCE

The co-presence of bodies in intersubjective situations can give rise to processes of kinesthetic empathy and physiological synchronization, especially in the context of dance: the body and attention of the spectators are oriented towards the dancers. We investigate the processes of “body-mind” resonance between a choreography and its spectators, and more specifically the lasting impact of this resonance post-performance. We then explore the relation between the observed effects and subjective measures of attention. In the Labodanse project, we worked closely with the French choreographer Myriam Gourfink who develops a unique movement based on slower breathing of the dancers, generating an extremely slow movement without rhythmic ruptures. Phenomenological studies of her work report changes in temporal perception, and changes in bodily attentional states. In order to quantify this change in temporal perception we had 11 spectators perform two protocols (Spontaneous Tempo Production STP and Apparent Motion effect AM – tasks) before and after a 40-min live performance. We performed a control experiment with a choreography of a distinctly different quality of movement (11 subjects). Subjective reports were collected at the end of the performance. Physiological data were recorded beforenand after the performance.

Post- Gourfink performance, we observed a significant slowing down of STP, while AM was reported with longer temporal intervals. Neither of these effects was observed in the control condition.Furthermore,  increase in perception of AM was correlated with slower breathing rate after the performance. Correlations with subjective reports suggest a link between changes in cognitive and physiological dynamics and the degree of absorption of the spectators in the performance. In addition, these changes were related to specific reported attentional dispositions that we interpret as a form of attentional resonance.

The ensemble of the results suggests an expansion of the “specious present” (Wittmann) that is related to slowing of physiological rhythms and an attentional resonance between spectators and dancers. The absence of similar results in the control condition argues that 1) these effects were due to the specificity of Gourfink’s choreography; 2) changes in TP is a working proxy to study contagion of body-mind states. The intricate relation we observed between intersubjective resonance and temporal cognition foregrounds the notion of shared present as a neurophenomenological construct.



10:00-14:00 CINETic Multifunctional Venue (Ground Floor)

WORKSHOP: Collecting EEG Data during dance performance, rehearsing with dancers

Asaf Bachrach, PhD and Dimitri Bayle, PhD, CNRS – Centre national de la recherche scientifique Paris, FRANCE

Collective dance improvisation (e.g. traditional dances, social dancing, contact improvisation) is

a participatory, relational and embodied art form which eschews standard concepts in the field of aesthetics. We propose that a subjective sense of “togetherness” associated with such practices is central to the aesthetic experience of the participants and spectators.

The study of “togetherness” has been gaining interest within social neuroscience and psychology (De Jaegher & Di Paolo, 2007). Togetherness has been reported and studied in a variety of contexts but in particular in the case of joint-movement or joint-action. The focus of most of these studies and associated theoretical models has been temporal synchronicity and/or mirroring of movement between partners (Dahan et al., 2016).

Our transdisciplinary project “from joint improvisation to interaction” (ICI), where dancers, scientists, and philosophers research together through movement, includes studio explorations of the emergence and dynamics of togetherness during dance improvisation. By confronting our practices of improvisation with empirical research mentioned earlier, we observe that while the empirical research focuses on synchrony, togetherness in dance improvisation is not limited to it. Phenomenologically, it seemed to us that togetherness is less the consequence of synchrony per se than of the subtle intersubjective negotiations it requires.

In order to shed further light on the subtleties of how and when „togetherness” occurs, we designed variations on existing paradigms (such as the mirror game, Noy et al 2011 and conversational turn taking, Himberg et al, 2015) and created novel improvisational scores inspired by work of Lisa Nelson, Meg Stuart and others. In this workshop we will share movement tasks in different frames.  First with reference to the scientific questions we are researching, second as an experiential and performative exploration (with potential therapeutic applications). The last part of the workshop will be dedicated to a verbal exchange regarding the experience.


16:00-20:00             Collecting data and analysing



WORKSHOP: ANT NEURO                             

CINETic 2nd Floor

9:15 Registration

9:15-9:30 Intro ANT (Patrique Fiedler)

9:30-10:30 Principles of EEG, EEG in movement research – 45min presentation and 15min discussion (local speaker)

10:30- 11:00 coffee break

11:00-12:00 Presentation of eego (Despina Demenega)

12:00-12:30 Hands-on practice on eego data collection, combination of EEG with other sensors and bipolar channels, amplifier synchronization for hyperscanning

12:30-13:00 Protocols and methodology of ERP studies, case study presentation from the host’s lab Claudiu Papasteri

13:00-14:00 Lunch break

14:00-14:45 Data pre-/post-processing for ERP analysis on ASA (Patrique Fiedler)

14:45-16:30 Hands on practice

16:30-17:00 Closing remarks



WORKSHOP: ANT NEURO                             

CINETic 2nd Floor

9:15 Registration

9:30-10:30 Dry vs. gel-based electrodes (Patrique Fiedler)

10:30- 11:00 coffee break

11:00-12:00 Hands on practice

12:00-12:30 ASA in time frequency domain (Patrique Fiedler)

12:30-13:30 Hands-on practice

13:30-14:30 Lunch break

14:30-15:15  Managing analysis for multiple subjects on ASA (Despina Demenega)

15:15-16:45 Hands on practice

16:45 Closing remarks







In perioada 9-14 decembrie 2017, CINETic organizează Atelierele exploratorii „LdaVi EEG lab” care au ca obiect abordarea interdisciplinară a utilizării EEG în analiza artelor performative, în primul rând teatru, dans și muzică.


În cadrul atelierelor vor fi 5 conferințe și 6 ateliere de training, susţinute de specialişti internaţionali:


Lore Legrand, PhD, Functional Brain Mapping Laboratory, Campus Biotech, Neuroscience Department, Geneva, SWITZERLAND
Miralena I. Tomescu, PhD, Functional Brain Mapping Laboratory, Neuroscience Department, Geneva, SWITZERLAND
Norbert Jaušovec, PhD, Faculty of Arts, Department of Psychology, University of Maribor, SLOVENIA
Asaf Bachrach, PhD, CNRS – Centre national de la recherche scientifique Paris, FRANCE
Dimitri Bayle, PhD, CNRS – Centre national de la recherche scientifique Paris, FRANCE
Patrique Fiedler, Ing.Dipl., Marie Curie Research Fellow, GERMANY
Despoina Demenega, Msc. Neuroscience & Cognition, NEDERLANDS
Alexandra Huh, PhD student, CINETic Research Assistant, Bucharest, ROMANIA


Accesul la conferințe este deschis. Pentru participarea la ateliere este necesară înscrierea la adresa de mail:


Pentru a putea avea un caracter hands on, numărul participanţilor este limitat la 15. Pentru ateliere sunt necesare cunoștințe în domeniul cercetării EEG. Recomandăm participarea la aceste ateliere în mod deosebit celor care au dorinţa de a derula studii de EEG în cadrul CINETic în viitorul apropiat. Este recomandată o scurtă prezentare de intenţie de participare pentru ateliere.