Noninvasive brain implant could someday translate thoughts into movement

ScienceDaily (June 17, 2011) — A brain implant developed at the University of Michigan uses the body's skin like a conductor to wirelessly transmit the brain's neural signals to control a computer, and may eventually be used to reactivate paralyzed limbs.

The implant is called the BioBolt, and unlike other neural interface technologies that establish a connection from the brain to an external device such as a computer, it's minimally invasive and low power, said principal investigator Euisik Yoon, a professor in the U-M College of Engineering, Department of Electrical Engineering and Computer Science.

Currently, the skull must remain open while neural implants are in the head, which makes using them in a patient's daily life unrealistic, said Kensall Wise, the William Gould Dow Distinguished University professor emeritus in engineering.

BioBolt does not penetrate the cortex and is completely covered by the skin to greatly reduce risk of infection. Researchers believe it's a critical step toward the Holy Grail of brain-computer interfacing: allowing a paralyzed person to "think" a movement.

"The ultimate goal is to be able to reactivate paralyzed limbs," by picking the neural signals from the brain cortex and transmitting those signals directly to muscles, said Wise, who is also founding director of the NSF Engineering Research Center for Wireless Integrated MicroSystems (WIMS ERC). That technology is years away, the researchers say.

Another promising application for the BioBolt is controlling epilepsy, and diagnosing certain diseases like Parkinson's.

The concept of BioBolt is filed for patent and was presented on June 16 at the 2011 Symposium on VLSI Circuits in Kyoto, Japan. Sun-Il Chang, a PhD student in Yoon's research group, is lead author on the presentation.

The BioBolt looks like a bolt and is about the circumference of a dime, with a thumbnail-sized film of microcircuits attached to the bottom. The BioBolt is implanted in the skull beneath the skin and the film of microcircuits sits on the brain. The microcircuits act as microphones to 'listen' to the overall pattern of firing neurons and associate them with a specific command from the brain. Those signals are amplified and filtered, then converted to digital signals and transmitted through the skin to a computer, Yoon said.

Another hurdle to brain interfaces is the high power requirement for transmitting data wirelessly from the brain to an outside source. BioBolt keeps the power consumption low by using the skin as a conductor or a signal pathway, which is analogous to downloading a video into your computer simply by touching the video.

Eventually, the hope is that the signals can be transmitted through the skin to something on the body, such as a watch or a pair of earrings, to collect the signals, said Yoon, eliminating the need for an off-site computer to process the signals.

Story Source:

The above story is reprinted (with editorial adaptations by ScienceDaily staff) from materials provided by University of Michigan, via EurekAlert!, a service of AAAS.

Note: If no author is given, the source is cited instead.

Disclaimer: This article is not intended to provide medical advice, diagnosis or treatment. Views expressed here do not necessarily reflect those of ScienceDaily or its staff.

View the original article here

Noninvasive brain implant could someday translate thoughts into movement

ScienceDaily (June 17, 2011) — A brain implant developed at the University of Michigan uses the body's skin like a conductor to wirelessly transmit the brain's neural signals to control a computer, and may eventually be used to reactivate paralyzed limbs.

The implant is called the BioBolt, and unlike other neural interface technologies that establish a connection from the brain to an external device such as a computer, it's minimally invasive and low power, said principal investigator Euisik Yoon, a professor in the U-M College of Engineering, Department of Electrical Engineering and Computer Science.

Currently, the skull must remain open while neural implants are in the head, which makes using them in a patient's daily life unrealistic, said Kensall Wise, the William Gould Dow Distinguished University professor emeritus in engineering.

BioBolt does not penetrate the cortex and is completely covered by the skin to greatly reduce risk of infection. Researchers believe it's a critical step toward the Holy Grail of brain-computer interfacing: allowing a paralyzed person to "think" a movement.

"The ultimate goal is to be able to reactivate paralyzed limbs," by picking the neural signals from the brain cortex and transmitting those signals directly to muscles, said Wise, who is also founding director of the NSF Engineering Research Center for Wireless Integrated MicroSystems (WIMS ERC). That technology is years away, the researchers say.

Another promising application for the BioBolt is controlling epilepsy, and diagnosing certain diseases like Parkinson's.

The concept of BioBolt is filed for patent and was presented on June 16 at the 2011 Symposium on VLSI Circuits in Kyoto, Japan. Sun-Il Chang, a PhD student in Yoon's research group, is lead author on the presentation.

The BioBolt looks like a bolt and is about the circumference of a dime, with a thumbnail-sized film of microcircuits attached to the bottom. The BioBolt is implanted in the skull beneath the skin and the film of microcircuits sits on the brain. The microcircuits act as microphones to 'listen' to the overall pattern of firing neurons and associate them with a specific command from the brain. Those signals are amplified and filtered, then converted to digital signals and transmitted through the skin to a computer, Yoon said.

Another hurdle to brain interfaces is the high power requirement for transmitting data wirelessly from the brain to an outside source. BioBolt keeps the power consumption low by using the skin as a conductor or a signal pathway, which is analogous to downloading a video into your computer simply by touching the video.

Eventually, the hope is that the signals can be transmitted through the skin to something on the body, such as a watch or a pair of earrings, to collect the signals, said Yoon, eliminating the need for an off-site computer to process the signals.

Story Source:

The above story is reprinted (with editorial adaptations by ScienceDaily staff) from materials provided by University of Michigan, via EurekAlert!, a service of AAAS.

Note: If no author is given, the source is cited instead.

Disclaimer: This article is not intended to provide medical advice, diagnosis or treatment. Views expressed here do not necessarily reflect those of ScienceDaily or its staff.

View the original article here

EEG headset with flying harness lets users 'fly' by controlling their thoughts

ScienceDaily (May 6, 2011) — A team of Rensselaer Polytechnic Institute students has created a system that pairs an EEG headset with a 3-D theatrical flying harness, allowing users to "fly" by controlling their thoughts. The "Infinity Simulator" will make its debut with an art installation in which participants rise into the air -- and trigger light, sound, and video effects -- by calming their thoughts.

Creative director and Rensselaer MFA candidate Yehuda Duenyas describes the "Infinity Simulator" as a platform similar to a gaming console -- like the Wii or the Kinect -- writ large.

"Instead of you sitting and controlling gaming content, it's a whole system that can control live elements -- so you can control 3-D rigging, sound, lights, and video," said Duenyas, who works under the moniker "xxxy." "It's a system for creating hybrids of theater, installation, game, and ride."

Duenyas created the "Infinity Simulator" with a team of collaborators, including Michael Todd, a Rensselaer 2010 graduate in computer science. Duenyas will exhibit the new system in the art installation "The Ascent" on May 12 at Curtis R. Priem Experimental Media and Performing Arts Center (EMPAC).

Ten computer programs running simultaneously link the commercially available EEG headset to the computer-controlled 3-D flying harness and various theater systems, said Todd.

Within the theater, the rigging -- including the harness -- is controlled by a Stage Tech NOMAD console; lights are controlled by an ION console running MIDI show control; sound through MAX/MSP; and video through Isadora and Jitter. The "Infinity Simulator," a series of three C programs written by Todd, acts as intermediary between the headset and the theater systems, connecting and conveying all input and output.

"We've built a software system on top of the rigging control board and now have control of it through an iPad, and since we have the iPad control, we can have anything control it," said Duenyas. "The 'Infinity Simulator' is the center; everything talks to the 'Infinity Simulator.'"

The May 12 "The Ascent" installation is only one experience made possible by the new platform, Duenyas said.

"'The Ascent' embodies the maiden experience that we'll be presenting," Duenyas said. "But we've found that it's a versatile platform to create almost any type of experience that involves rigging, video, sound, and light. The idea is that it's reactive to the users' body; there's a physical interaction."

Duenyas, a Brooklyn-based artist and theater director, specializes in experiential theater performances.

"The thing that I focus on the most is user experience," Duenyas said. "All the shows I do with my theater company and on my own involve a lot of set and set design -- you're entering into a whole world. You're having an experience that is more than going to a show, although a show is part of it."

The "Infinity Simulator" stemmed from an idea Duenyas had for such a theatrical experience.

"It started with an idea that I wanted to create a simulator that would give people a feeling of infinity," Duenyas said. His initial vision was that of a room similar to a Cave Automated Virtual Environment -- a room paneled with projection screens -- in which participants would be able to float effortlessly in an environment intended to evoke a glimpse into infinity.

At Rensselaer, Duenyas took advantage of the technology at hand to explore his idea, first with a video game he developed in 2010, then -- working through the Department of the Arts -- with EMPAC's computer-controlled 3-D theatrical flying harness.

"The charge of the arts department is to allow the artists that they bring into the department to use technology to enhance what they've been doing already," Duenyas said. "In coming here (EMPAC), and starting to translate our ideas into a physical space, so many different things started opening themselves up to us."

The 2010 video game, also developed with Todd, tracked the movements -- pitch and yaw -- of players suspended in a custom-rigged harness, allowing players to soar through simulated landscapes. Duenyas said that that game (also called the "Infinity Simulator") and the new platform are part of the same vision.

EMPAC Director Johannes Goebel saw the game on display at the 2010 GameFest and discussed the custom-designed 3-D theatrical flying rig in EMPAC with Duenyas. Working through the Arts Department, Duenyas submitted a proposal to work with the rig, and his proposal was accepted.

Duenyas and his team experimented -- first gaining peripheral control over the system, and then linking it to the EEG headset -- and created the Ascent installation as an initial project. In the installation, the Infinity Simulator is programmed to respond to relaxation.

"We're measuring two brain states -- alpha and theta -- waking consciousness and everyday brain computational processing," said Duenyas. "If you close your eyes and take a deep breath, that processing power decreases. When it decreases below a certain threshold, that is the trigger for you to elevate."

As a user rises, their ascent triggers a changing display of lights, sound, and video. Duenyas said he wants to hint at transcendental experience, while keeping the door open for a more circumspect interpretation.

"The point is that the user is trying to transcend the everyday and get into this meditative state so they can have this experience. I see it as some sort of iconic spiritual simulator. That's the serious side," he said. "There's also a real tongue-in-cheek side of my work: I want clouds, I want Terry Gilliam's animated fist to pop out of a cloud and hit you in the face. It's mixing serious religious symbology, but not taking it seriously."

The humor is prompted, in part, by the limitations of this earliest iteration of Duenyas' vision.

"It started with, 'I want to have a glimpse of infinity,' 'I want to float in space.' Then you get in the harness and you're like 'man, this harness is uncomfortable,'" he said. "In order to achieve the original vision, we had to build an infrastructure, and I still see development of the infinity experience is a ways off; but what we can do with the infrastructure in a realistic time frame is create 'The Ascent,' which is going to be really fun, and totally other."

Creating the "Infinity Simulator" has prompted new possibilities.

"The vision now is to play with this fun system that we can use to build any experience," he said. "It's sort of overwhelming because you could do so many things -- you could create a flight through cumulus clouds, you could create an augmented physicality parkour course where you set up different features in the room and guide yourself to different heights. It's limitless."

Story Source:

The above story is reprinted (with editorial adaptations by ScienceDaily staff) from materials provided by Rensselaer Polytechnic Institute (RPI).

Note: If no author is given, the source is cited instead.

Disclaimer: This article is not intended to provide medical advice, diagnosis or treatment. Views expressed here do not necessarily reflect those of ScienceDaily or its staff.

View the original article here

EEG headset with flying harness lets users 'fly' by controlling their thoughts

ScienceDaily (May 6, 2011) — A team of Rensselaer Polytechnic Institute students has created a system that pairs an EEG headset with a 3-D theatrical flying harness, allowing users to "fly" by controlling their thoughts. The "Infinity Simulator" will make its debut with an art installation in which participants rise into the air -- and trigger light, sound, and video effects -- by calming their thoughts.

Creative director and Rensselaer MFA candidate Yehuda Duenyas describes the "Infinity Simulator" as a platform similar to a gaming console -- like the Wii or the Kinect -- writ large.

"Instead of you sitting and controlling gaming content, it's a whole system that can control live elements -- so you can control 3-D rigging, sound, lights, and video," said Duenyas, who works under the moniker "xxxy." "It's a system for creating hybrids of theater, installation, game, and ride."

Duenyas created the "Infinity Simulator" with a team of collaborators, including Michael Todd, a Rensselaer 2010 graduate in computer science. Duenyas will exhibit the new system in the art installation "The Ascent" on May 12 at Curtis R. Priem Experimental Media and Performing Arts Center (EMPAC).

Ten computer programs running simultaneously link the commercially available EEG headset to the computer-controlled 3-D flying harness and various theater systems, said Todd.

Within the theater, the rigging -- including the harness -- is controlled by a Stage Tech NOMAD console; lights are controlled by an ION console running MIDI show control; sound through MAX/MSP; and video through Isadora and Jitter. The "Infinity Simulator," a series of three C programs written by Todd, acts as intermediary between the headset and the theater systems, connecting and conveying all input and output.

"We've built a software system on top of the rigging control board and now have control of it through an iPad, and since we have the iPad control, we can have anything control it," said Duenyas. "The 'Infinity Simulator' is the center; everything talks to the 'Infinity Simulator.'"

The May 12 "The Ascent" installation is only one experience made possible by the new platform, Duenyas said.

"'The Ascent' embodies the maiden experience that we'll be presenting," Duenyas said. "But we've found that it's a versatile platform to create almost any type of experience that involves rigging, video, sound, and light. The idea is that it's reactive to the users' body; there's a physical interaction."

Duenyas, a Brooklyn-based artist and theater director, specializes in experiential theater performances.

"The thing that I focus on the most is user experience," Duenyas said. "All the shows I do with my theater company and on my own involve a lot of set and set design -- you're entering into a whole world. You're having an experience that is more than going to a show, although a show is part of it."

The "Infinity Simulator" stemmed from an idea Duenyas had for such a theatrical experience.

"It started with an idea that I wanted to create a simulator that would give people a feeling of infinity," Duenyas said. His initial vision was that of a room similar to a Cave Automated Virtual Environment -- a room paneled with projection screens -- in which participants would be able to float effortlessly in an environment intended to evoke a glimpse into infinity.

At Rensselaer, Duenyas took advantage of the technology at hand to explore his idea, first with a video game he developed in 2010, then -- working through the Department of the Arts -- with EMPAC's computer-controlled 3-D theatrical flying harness.

"The charge of the arts department is to allow the artists that they bring into the department to use technology to enhance what they've been doing already," Duenyas said. "In coming here (EMPAC), and starting to translate our ideas into a physical space, so many different things started opening themselves up to us."

The 2010 video game, also developed with Todd, tracked the movements -- pitch and yaw -- of players suspended in a custom-rigged harness, allowing players to soar through simulated landscapes. Duenyas said that that game (also called the "Infinity Simulator") and the new platform are part of the same vision.

EMPAC Director Johannes Goebel saw the game on display at the 2010 GameFest and discussed the custom-designed 3-D theatrical flying rig in EMPAC with Duenyas. Working through the Arts Department, Duenyas submitted a proposal to work with the rig, and his proposal was accepted.

Duenyas and his team experimented -- first gaining peripheral control over the system, and then linking it to the EEG headset -- and created the Ascent installation as an initial project. In the installation, the Infinity Simulator is programmed to respond to relaxation.

"We're measuring two brain states -- alpha and theta -- waking consciousness and everyday brain computational processing," said Duenyas. "If you close your eyes and take a deep breath, that processing power decreases. When it decreases below a certain threshold, that is the trigger for you to elevate."

As a user rises, their ascent triggers a changing display of lights, sound, and video. Duenyas said he wants to hint at transcendental experience, while keeping the door open for a more circumspect interpretation.

"The point is that the user is trying to transcend the everyday and get into this meditative state so they can have this experience. I see it as some sort of iconic spiritual simulator. That's the serious side," he said. "There's also a real tongue-in-cheek side of my work: I want clouds, I want Terry Gilliam's animated fist to pop out of a cloud and hit you in the face. It's mixing serious religious symbology, but not taking it seriously."

The humor is prompted, in part, by the limitations of this earliest iteration of Duenyas' vision.

"It started with, 'I want to have a glimpse of infinity,' 'I want to float in space.' Then you get in the harness and you're like 'man, this harness is uncomfortable,'" he said. "In order to achieve the original vision, we had to build an infrastructure, and I still see development of the infinity experience is a ways off; but what we can do with the infrastructure in a realistic time frame is create 'The Ascent,' which is going to be really fun, and totally other."

Creating the "Infinity Simulator" has prompted new possibilities.

"The vision now is to play with this fun system that we can use to build any experience," he said. "It's sort of overwhelming because you could do so many things -- you could create a flight through cumulus clouds, you could create an augmented physicality parkour course where you set up different features in the room and guide yourself to different heights. It's limitless."

Story Source:

The above story is reprinted (with editorial adaptations by ScienceDaily staff) from materials provided by Rensselaer Polytechnic Institute (RPI).

Note: If no author is given, the source is cited instead.

Disclaimer: This article is not intended to provide medical advice, diagnosis or treatment. Views expressed here do not necessarily reflect those of ScienceDaily or its staff.

View the original article here