The Interface Is the (Art)Work: EEG-Feedback, Circuited Selves and the Rise of Real-Time Brainmedia (1964–1977). Lysen, F. In Brain Art: Brain-Computer Interfaces for Artistic Expression, pages 33–63. Springer International Publishing, Cham, 2019. ZSCC: NoCitationData[s0] ![The Interface Is the (Art)Work: EEG-Feedback, Circuited Selves and the Rise of Real-Time Brainmedia (1964–1977) [link]](https://bibbase.org/img/filetypes/link.svg "link")
Paper doi abstract bibtex This chapter examines the rise of EEG-feedback research in the period between 1964 and 1977, the time between the first EEG-feedback setup that gained public attention and the subsequent waning of the explosive enthusiasm for EEG-feedback in the late 1970s. Studying both artistic and scientific experiments of EEG-feedback during this period, the chapter traces the emergence of a new direction within this subdomain of EEG-research—beyond an interest in the meaning of measured brain wave states, towards the significance of the design of brain-feedback situations that perform and emphasize the relationality and mutability of brain activity. By examining research cultures and practices of EEG-feedback, the chapter traces conditions of possibility for a shifting epistemological commitment, revolving around the idea that ‘the interface is the work.’ Research cultures of EEG feedback were impacted by both artistic and scientific experiments with media environments and the idea of a ‘circuited self’. In turn, artists and researchers were actively engaged with the public manifestation of EEG-feedback in popular news reports and television broadcasts, which created a particular sphere of resonance for the emphasis on playful and spectacular demonstrations of circuits. When computing was introduced in EEG-feedback after 1970, it brought notions of ‘on-line’ and ‘real-time’ into the circuit. These developments were not only understood as technological advancement through faster feedback, but they also brought an emphasis on the social potential of computing: self-insight, augmenting the self and connecting with others. The chapter ends with a reflection on the resonance of histories of performance and design-oriented approaches in neuroscientific research today.
@incollection{lysen_interface_2019,
address = {Cham},
title = {The {Interface} {Is} the ({Art}){Work}: {EEG}-{Feedback}, {Circuited} {Selves} and the {Rise} of {Real}-{Time} {Brainmedia} (1964–1977)},
isbn = {978-3-030-14323-7},
shorttitle = {The {Interface} {Is} the ({Art}){Work}},
url = {https://doi.org/10.1007/978-3-030-14323-7_2},
abstract = {This chapter examines the rise of EEG-feedback research in the period between 1964 and 1977, the time between the first EEG-feedback setup that gained public attention and the subsequent waning of the explosive enthusiasm for EEG-feedback in the late 1970s. Studying both artistic and scientific experiments of EEG-feedback during this period, the chapter traces the emergence of a new direction within this subdomain of EEG-research—beyond an interest in the meaning of measured brain wave states, towards the significance of the design of brain-feedback situations that perform and emphasize the relationality and mutability of brain activity. By examining research cultures and practices of EEG-feedback, the chapter traces conditions of possibility for a shifting epistemological commitment, revolving around the idea that ‘the interface is the work.’ Research cultures of EEG feedback were impacted by both artistic and scientific experiments with media environments and the idea of a ‘circuited self’. In turn, artists and researchers were actively engaged with the public manifestation of EEG-feedback in popular news reports and television broadcasts, which created a particular sphere of resonance for the emphasis on playful and spectacular demonstrations of circuits. When computing was introduced in EEG-feedback after 1970, it brought notions of ‘on-line’ and ‘real-time’ into the circuit. These developments were not only understood as technological advancement through faster feedback, but they also brought an emphasis on the social potential of computing: self-insight, augmenting the self and connecting with others. The chapter ends with a reflection on the resonance of histories of performance and design-oriented approaches in neuroscientific research today.},
language = {en},
urldate = {2020-10-06},
booktitle = {Brain {Art}: {Brain}-{Computer} {Interfaces} for {Artistic} {Expression}},
publisher = {Springer International Publishing},
author = {Lysen, Flora},
editor = {Nijholt, Anton},
year = {2019},
doi = {10.1007/978-3-030-14323-7_2},
note = {ZSCC: NoCitationData[s0] },
keywords = {Art-science interaction, Brainmedia, EEG-feedback, Interface, Real-time},
pages = {33--63},
}
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