1st Edition

Affect, Intimacy and Ecology of Mind in Neurofeedback Art

By Cristina Albu Copyright 2027
234 Pages 48 B/W Illustrations
by Routledge

This book charts the history of neurofeedback art from the mid-1960s to the present. It examines how artists have paired electroencephalography (EEG) brainwave readings with fluctuating sounds, lights, or images to reveal the embodied and relational nature of the mind. Offering a comprehensive exploration of performances and participatory installations based on neurofeedback technology, the... Read more

0. Preface: Embodied Signals  1. Artists as Neural Orchestrators: Affective Modulations of Body-Mind-Environment Relations  2. Intimate Connections: Alternative Communication Threads in Nina Sobell’s Video Performances and Installations  3. Consonance and Dissonance: Fluctuating Mental Landscapes in Mariko Mori’s Wave UFO (1999 – 2003) and Suzanne Dikker and Matthias Oostrik’s Art-Sci Projects (2011 to present)  4. Planetary Re-Enchantment: Interspecies Entanglements in Victoria Vesna’s Octopus Brainstorming  5. Touching Minds: Ellen Pearlman’s Reframing of Traumatic Memories in Telematic Performances and Brain Operas   6. Epilogue

Biography

Cristina Albu is Associate Professor of Art History at University of Missouri-Kansas City, USA.

Affect, Intimacy, and Ecology of Mind in Neurofeedback Art is a landmark contribution to the fields of art history, media studies, and the emerging discourse on brain-AI interfaces. This is a book that thinks deeply about what it means to be an embodied, interconnected, and vulnerable being in an age of accelerating neurotechnology. For the visual regime in which we are all embedded, this is essential reading.”

Gregory Minissale, Professor of Humanities, University of Auckland, NZ

“Albu’s deeply researched study traces a compelling genealogy of neurofeedback art across feminist media practices, cybernetics, and ecological thought. At a moment when AI and biometric systems increasingly shape visual culture and social life, this book demonstrates how artists anticipated critical questions surrounding affect, relationality, technological mediation, and the infrastructures of embodied experience.”

Gloria Sutton, Associate Professor, Northeastern University, US