Through my practice as a researcher, new media artist, and composer, I explore the spaces between experience and signal, investigating how art, computation, and mediation shape what can be felt, shared, and known. Through biofeedback, voice, and computational systems, I approach music and performance as emotional technologies that operate alongside the software and hardware of computational systems.

In this presentation, I revisit Jonathan Sterne and Tara Rodgers’ notion of the poetics of signal processing (2011) through the history of biofeedback music and my own artistic practice. I argue that biofeedback complicates conventional models of signal processing by placing living bodies, emotions, and social relations directly within the signal chain. Drawing on feminist science and technology studies, I use biofeedback as a lens through which to examine contemporary computational systems and their claims to immediacy, authenticity, and access to experience. Rather than attempting to resolve the distance between lived experience and its computational representations, I treat this gap as a productive site for research-creation.