ORCID Profile
0000-0002-9906-2556
Current Organisations
Macquarie University
,
Harvard University
,
Princeton University
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Publisher: Indiana University Press
Date: 04-2022
Publisher: Springer International Publishing
Date: 2017
Publisher: Informa UK Limited
Date: 24-10-2022
Publisher: Cambridge University Press (CUP)
Date: 2021
DOI: 10.1017/JBR.2020.176
Publisher: Indiana University Press
Date: 2015
Publisher: Project MUSE
Date: 2017
DOI: 10.1353/VP.2017.0009
Publisher: Project MUSE
Date: 06-2022
DOI: 10.1353/VP.2022.0010
Publisher: Indiana University Press
Date: 2018
Publisher: Springer International Publishing
Date: 2023
Publisher: The Korean Society for Feminist Studies in English Literature
Date: 12-2009
Publisher: Informa UK Limited
Date: 02-09-2018
Publisher: Informa UK Limited
Date: 12-05-2015
Publisher: Springer Science and Business Media LLC
Date: 30-03-2018
Publisher: Indiana University Press
Date: 2012
Publisher: Edinburgh University Press
Date: 10-2019
Abstract: Art that incorporates brain-computer interface (or BCI) technology sheds fresh light on several aspects of aesthetic theory. Because it is radically interactive and can permit viewers or listeners to modify a work directly by means of their cerebral activity, such art illuminates the role of audience members in shaping that work's meaning in this way, it literalizes reader-response theory and allows the public to engage even with opaque or alienating pieces. BCI-based art also reframes the significance of the artist's intentions, prompting a reconsideration of the truism that ‘the author is dead’, both by positing a collective form of authorship and by granting a creator access to her own unconscious impulses. Finally, via the notion that it may be possible to transfer unfiltered ideas between brains, BCI-inspired artworks provide a new perspective on art as mediation. Although artists have traditionally been praised for seeming to grant direct access to their emotions, one could argue that artistry happens in the act of concretizing and externalizing one's ideas – that is, in the mediated translation of thought rather than in thought itself. The essay concludes by discussing the implications of this theoretical framework for (among other fields) the digital humanities.
No related grants have been discovered for Veronica Alfano.