Aesthetics, Neuroaesthetics and Practices of Performance and Technology In her presentation Prof. sue Broadhurst will outline a range of performances, including her own, which use new technologies such as, motion tracking, artificial intelligence, robotics, MIDI, MAX and osC, interactive design, Flo Mo, blue screen and biotechnology. These practices present innovation in art and performance practices being predominantly at the cutting edge of creative and technological experimentation. In a variety of ways they link the sensuous contact that must exist between the physical and virtual at the same time NeuroArts 3 June 27-29 Noise: As glue, as buoyancy Roland Levinsky Building, Plymouth University 14:45–15:00 15:00–15:30 15:30–15:50 transforming perceptual experience. Technology then would imply a reconfiguration of our embodied experience. such works present innovation in art practices, as such, certain features are identified that are central to these new art forms. It is Broadhurst’s opinion that such features demand a new mode of analysis, one which foregrounds the inherent tensions between the physical and virtual. As a development of her previous theorization she believes that aesthetic theorization is central to this analysis. however, other approaches are also valid, particularly, those offered by recent research into cognitive neuroscience, particularly in relation to the emergent field of ‘neuro-esthetics’ where the primary objective is to provide ‘an understanding of the biological basis of aesthetic experience’ (Zeki 1999; 2009). Zeki, semir (1999) Inner Vision: An exploration of Art and the Brain. oxford: oxford University Press.
