Mind Readings: Using 19th century mentalism techniques to study how mind-reading neurotechnology transforms our understanding of mind and body

这个跨学科的，以实践为基础的博士学位将通过实用，可访问，参与性和包容性的创造性方法来批判性地研究围绕读心技术的话语。它将产生行为艺术作品，戏剧化的社会，哲学，和道德问题的读心术技术为广大观众。读心术家和魔术师有丰富的历史，批判性地参与公众的概念读心术和技术。从这一传统中汲取的技术将与设计小说和表演民族志的研究方法结合使用，以激发和阐明关于读心话语，历史，实践和技术的理论思想。读心技术是不断增长的神经技术领域的核心，预计到2020年将达到76亿美元的市场（Cavuoto，2018）。随着游戏、军事、医学、社交媒体和日常人机交互应用的不断开发，《连线》杂志将2017年称为“脑机接口（BMI）的诞生之年”。（Levy，2017年）。随着读心技术的成熟，变得越来越复杂，多样化和广泛，迫切需要批判性地审视其潜在的好处和危险。（Levy，2008年）。这样一个及时的检查需要考虑他们的历史渊源，评估他们提出的挑战，以确认心灵哲学，并使用创造性的研究方法，可以捕捉和沟通他们的内在本质在有形的方式。这项研究将扎根于文化理论，心灵哲学，和行为艺术研究。在我的研究交叉的关键领域将之间：戏剧心灵论的历史和文化理论;新兴的mindreadingtechnologies;和心灵，读心术，认知和主体间性的哲学。这些领域的理论关注将通过反思性研讨会促进，表演性设计小说，参与性行为艺术以及分析，设计，原型设计，测试和反思的迭代过程进行研究。我将使用定性和行动研究方法相结合，包括民族志参与观察和参与性行为艺术干预。博士学位的实践部分将需要进一步的研究和发展的研究方法，从性能和设计小说。行动研究方法和迭代设计过程将提供结构，在其中分析和反思行为艺术实践，并在参与性表演中与人们一起开发新的工作方式。

This interdisciplinary, practice-based PhD will critically examine the discourse surrounding mind-readingtechnologies through creative methods that are practical, accessible, participatory, and inclusive. It will produceperformance art work that dramatises the social, philosophical, and ethical issues of mind-reading technologies fora general audience.Theatrical mentalists and magicians have a rich history of critical engagement with public notions of mind-readingand technology. Techniques drawn from this tradition will be used in conjunction with research methods fromDesign Fiction and Performance Ethnography to stimulate and elucidate theoretical ideas about mind-readingdiscourses, histories, practices, and technologies.Mind-reading technologies are central to the growing field of neurotechnology, a $7.6 billion market predicted toreach $12 billion by 2020 (Cavuoto, 2018). With applications being developed for gaming, the military, medicine,social media, and everyday human-computer interaction, Wired magazine called 2017, "a coming-out year for thebrain machine interface (BMI)" (Levy, 2017).As mind-reading technologies mature, becoming increasingly sophisticated, varied, and widespread, there is anurgent need to critically examine their potential benefits and dangers (Levy, 2008). Such a timely examinationrequires a consideration of their historical antecedents, an evaluation of the challenges they present to prevailingphilosophies of mind, and the use of creative research methods that can capture and communicate their embodiednature in a tangible manner.This study will be grounded in cultural theory, philosophy of mind, and performance art studies. The key areas ofintersection in my research will be between: the history and cultural theory of theatrical mentalism; emerging mindreadingtechnologies; and the philosophy of mind, mind-reading, cognition, and intersubjectivity. The theoreticalconcerns of these areas will be studied through reflexive workshop facilitation, performative design fiction,participatory performance art, and the iterative processes of analysis, design, prototyping, testing, and reflection.The PhD will be 80% written to 20% practice. I will use a combination of qualitative and action researchmethodologies, including ethnographic participant observation and participatory performance art intervention. Thepractical component of the PhD will require further research and development of research methods fromperformance and design fiction. An action research methodology and an iterative design process will providestructures within which to analyse and reflect upon performance art practice and to develop new ways of workingwith people in participatory performances.