Kate Mondloch
Biographic Data
| ID | 1081589 |
|---|---|
| NAME | Kate Mondloch |
| GIVEN NAMES | Kate |
| FAMILY NAME | Mondloch |
| SIGNATURE | MONDLOCH K |
| AFFILIATIONS | University of Oregon |
| ORCID | 0009-0005-4063-1274 |
| VERIFIED | Yes |
| TOTAL WORKS | 5 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 5 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2010 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 0 |
How do we feel? Embodied simulation, attention, and the pursuit of transcendence in Jeremy Shaw’s Phase Shifting Index
This essay examines Jeremy Shaw’s Phase Shifting Index, a seven-channel video and sound installation that stages immersive encounters with expanded body-mind states of transcendence. Drawing on theories of embodied cognition and neuroaesthetics, it argues that Shaw’s work does not merely represent altered states but actively performs them through multisensory orchestration. By combining hypnotic audiovisual effects, disjunctive temporality, and c…
Framing the Virtual
In 2017, the Hirshhorn Museum and Sculpture Garden organized a major retrospective of Kusama Yayoi’s Infinity Mirror Rooms that enjoyed a six-venue tour of North America [...]
The Influencers
Van Gogh immersive exhibitions—multi-sited, branded multimedia environments inspired by the artist’s life and paintings—are seemingly ubiquitous in 2022. These itinerant digital spectacles bundle reproductions of Vincent Van Gogh’s most recognizable artistic motifs with tropes of fin-de-siècle madness, bathing their visitors in an artistic wonderland of projected images and soundscapes spread throughout cavernous exhibition venues. The popularity…
Wave of the Future? Reconsidering the Neuroscientific Turn in Art History
This essay examines the much-contested “neuroscientific turn” in art history, taking the cues of the best of the turn while rejecting its false starts. The most promising transdisciplinary encounters spanning the brain sciences and the humanities begin from the premise that human experience is embodied, but the “body” itself is interwoven across biological, ecological, phenomenological, social and cultural planes. Certain media artworks criticall…
Commentary and Criticism
In a 2007 article in the Washington Post, titled “Feminism and Art,” Blake Gopnik noted that Feminism can be thought of as the crucial movement of the recent past because it could act as an umbrell
No prominent works on this page.
Commentary and Criticism
In a 2007 article in the Washington Post, titled “Feminism and Art,” Blake Gopnik noted that Feminism can be thought of as the crucial movement of the recent past because it could act as an umbrell
Wave of the Future? Reconsidering the Neuroscientific Turn in Art History
This essay examines the much-contested “neuroscientific turn” in art history, taking the cues of the best of the turn while rejecting its false starts. The most promising transdisciplinary encounters spanning the brain sciences and the humanities begin from the premise that human experience is embodied, but the “body” itself is interwoven across biological, ecological, phenomenological, social and cultural planes. Certain media artworks criticall…
The Influencers
Van Gogh immersive exhibitions—multi-sited, branded multimedia environments inspired by the artist’s life and paintings—are seemingly ubiquitous in 2022. These itinerant digital spectacles bundle reproductions of Vincent Van Gogh’s most recognizable artistic motifs with tropes of fin-de-siècle madness, bathing their visitors in an artistic wonderland of projected images and soundscapes spread throughout cavernous exhibition venues. The popularity…
Framing the Virtual
In 2017, the Hirshhorn Museum and Sculpture Garden organized a major retrospective of Kusama Yayoi’s Infinity Mirror Rooms that enjoyed a six-venue tour of North America [...]
How do we feel? Embodied simulation, attention, and the pursuit of transcendence in Jeremy Shaw’s Phase Shifting Index
This essay examines Jeremy Shaw’s Phase Shifting Index, a seven-channel video and sound installation that stages immersive encounters with expanded body-mind states of transcendence. Drawing on theories of embodied cognition and neuroaesthetics, it argues that Shaw’s work does not merely represent altered states but actively performs them through multisensory orchestration. By combining hypnotic audiovisual effects, disjunctive temporality, and c…
Aesthetics (3 works) · Art (3 works) · Psychology (3 works) · Sociology (3 works) · Aesthetic Perception and Analysis (2 works) · Embodied cognition (2 works) · Exhibition (2 works) · Philosophy (2 works) · Political science (2 works) · Virtual Reality Applications and Impacts (2 works)