Recent advances in Brain Computer Interface (BCI) technologies using consumer grade BCI platforms allow for new types of artistic practices. BCI devices can read EEG (electroencephalogram), MEG (Magnetoencephalograph), and in clinical contexts fMRI (Functional magnetic resonance imaging), allowing measured binary algorithmic outputs to replicate, mimic, or enhance live time cognition using the human brain’s electrical, perceptual and cognitive processes.
Simple or heightened experiences become source material interfacing with sensor technology by relaying signals that digital software and embedded hardware can translate producing sonic, visual, sculptural and kinetic assemblages and events. These devices point towards a future time when visualization may not require screens but can be directed into the brain, dreams can be asynchronously reassembled, and memory genetically manipulated.
This rise of BCI devices is concurrent with enhanced spending on brain research initiatives by both the Obama administration, whose ten-year plans aim to map every neuron in the human brain and the European Union. How will these new technologies, practices and theories on human cognition and brain interfaces integrate into moral, social, political, aesthetic and economic issues surrounding vital sensory and cognitive data? How have artists already responded to these emerging technologies? How will arts practice address this cross-hybrid aesthetic spanning science, technology, biology, neuroscience, psychology, art music, math and engineering?