biohacking – Alicia Champlin

HeadSpace

Next showing: Saturday, Sept. 20th, 6pm - Responsive Dreams 2025, in Granollers.

HeadSpace is a new project under development in 2025, initially for presentation at ICLC in Barcelona. This performance was peer reviewed and accepted for publication in the ICLC 2025 proceedings. It premiered on Thursday, May 29, at Sala Beckett in Barcelona.

Headspace at ICLC 2025

In this project, the performer’s live EEG data is used as a control signal, focuses on the naturally occurring octaves (frequency doubling) within the EEG signal spectrum. As a means of sonifying the brainwave signals, they are mapped into a sequence of audible frequencies through live coded sound synthesis, and stepped through a modulating harmonic series derived from Schumann resonance frequencies. The two domains (EEG and the Schumann resonance) essentially overlap in the electromagnetic spectrum, posing an interesting synchronicity and thought experiment. Through this pairing, manipulated by live-coding 40 individual synthesizers and programmatically mixing the signals in real time, the work brings 2 omnipresent but hidden phenomena together in a soundscape narrative of biofeedback in play with atmospheric feedback.

Interested in booking? Please write hello@studiocazimi.com.

Upcoming performances of Headspace:

September 20, Responsive Dreams 2025 – The Generative Art Museum – Granollers, Catalunya

Past performances of Headspace:

May 29, ICLC 2025 – Sala Beckett – Barcelona

ABSTRACT

Working with biodata as a control signal requires challenging decisions to be made about
how the dimensions of the signal should be mapped onto whatever it is controlling. As most
biodata inherently has a very low signal to noise ratio, the task is to avoid arbitrary
mappings that end up essentially creating a noise filter. The key is to find a focus in
potential patterns, and to amplify these in a way that allows them to articulate themselves.

In this project, HeadSpace, the performer’s live EEG data is used as a control signal, and will
be focused on the naturally occurring octaves (frequency doubling) within the EEG signal
spectrum. As a means of sonifying the brainwave signals, they will be mapped through live
coded sound synthesis into a sequence of audible frequencies, and stepped (over time)
through a modulating harmonic series derived from Schumann resonance frequencies. The
two domains (EEG and the Schumann resonance) essentially overlap in the electromagnetic
spectrum, posing an interesting synchronicity and thought experiment.

Through this pairing, manipulated by live-coding 40 individual synthesizers and
programmatically mixing the signals in real time, the work brings 2 omnipresent but
hidden phenomena together in a soundscape narrative of biofeedback in play with
atmospheric feedback.

This piece draws on previous work with sonified EEG in live performance (see links) and
work with live coded sound performances using TidalCycles, MaxMSP, and PureData to
explore the complex layering of primitive oscillators through AM & FM synthesis, creating
spaces for a rich sound vocabulary to emerge from noise.

The primary inquiry at the heart of this work is to explore live biofeedback in a
performance methodology, that demonstrates (audibly) the recursive effect of live
manipulation of live sonified brainwaves in situ with the brain itself as both transmitter and
receiver. The first member of the audience is the performer, problem-solving the sound of problem-solving, and the rest of the room is invited inside this intimate space, which is
made intelligible and large enough to share through the application of earth’s own
harmonic series.

Given the personal (and self-reflexive) nature of biofeedback generally, what does it mean
to practice biofeedback in a live setting? Inevitably, the larger audience is part of the
atmosphere and thus part of the feedback being received, and as such becomes a
component of the control signal itself. Liveness itself can be characterized as being swept
up in shared ephemeral experience, a collective witnessing, and it is this expansive intimacy
that this practice seeks to capitalize on, as a further amplification of the control system in
play.

Full PDF proposal to ICLC here.

algorithmically generated interference waves

La Obra Invisible (Incorpórea)

‘The Invisible Work’

La Obra Invisible is a collaboration under the collective name Incorpórea. Quoted from the collective’s website:

algorithmically generated interference waves overlaid with the text "Incorpórea"

Incorporéa is a collective of two artists, Yalili Mora and Alicia Champlin, who have both worked extensively in the task of manifesting the invisible of our inner human worlds.

Yalili uses painting / portrait as a metaphor, with concerns about a deeper exploration of technological interfaces. Alicia has a history of using technological interventions as a mediator between creativity and data.

In collaboration between these two multimedia practices, “The Invisible Work” aims to reconcile the emotional and empirical realms, reaffirming our physical agency within our environments while simultaneously exploring the implications of our most ephemeral traces. In this mapping process, what we hope to emphasize is the balance between individual sovereignty over this psychological landscape, and its vulnerability to environmental and interpersonal forces, as well as the limits of our agency as these traces spread throughout the world in general.

The piece is an interactive installation featuring a Chladni plate as a visualization of the sonified brainwaves of both artists, signal-mixed together by visitors in real-time using a custom application built by Champlin, and presented along with the artists’ painted portraits (part of Mora’s series “Retratos sin rostros aparentes”, or “Portraits without apparent faces”).

This work was installed as part of Recorreguts Sonors: Accions i Mutacions Sonores at the Convent de Sant Agustí in Barcelona, 19-23 November of 2019.

portrait by Yali Mora of Alicia Champlin

I Am Sitting… IV

Past performances:

May 17, 2018; Without Borders Festival at Lord Hall Gallery; Orono, ME, USA (view on youtube)
June 10-12, 2018; Thresholds of the Algorithmic at Lydgalleriet; Bergen, Norway

Link to video of “I Am Sitting… IV” at Without Borders Festival in May, 2018.

I Am Sitting. . . is an immersive performance and sound installation in which a live performer is seated, in meditation and wearing an EEG instrument, in the center of an array of 8 inward-facing speakers. Eight channels of live-streamed EEG data are transformed into a sonic landscape that is both intimate and expansive. The sounds are spatialized in accordance with the geography of the eight electrode sensors of the instrument in order to create the sense of listening to the brain from the point of view of its owner, the performer.

The performance space is defined by the perimeter of speakers, and invites the audience to enter into the space, move about within it, and become part of an immersive bio-feedback experience. The resultant sound responds to the environment, especially the presence of the audience, by articulating external influences on the brain activity of the performer.

This work speaks to the thresholds at work within our perceptions – of self, of environment, and the distinctions between the two.

It also illustrates a dialectic between author and subject. Do our perceptions and actions generate our world, or are we experiencing a determined universe, an algorithm that is simply playing itself out? This quandary extends from the performer in meditation through the audience experiencing the piece, both questioning their role at the threshold of influence.

Finally, I Am Sitting. . . hovers in the space between the intimate and the interpersonal. How much of me is you? Can we fine-tune our perceptions to be more, or less, sensitive to our social conditioning? Which signals qualify as communication? The piece puts the audience (and performer) in an active state of testing these thresholds, teasing our intuitive and intellectual senses to dialogue with one another and form dynamic hypotheses about the nature of perception and interaction.

This piece is dedicated to the inimitable Alvin Lucier.

Duet for Bow Chime & Live EEG

Duet for Bow Chime & Live EEG was a live improvisational performance recorded in the IMRC’s AP/PE on March 27, 2018.

This work uses a modified technique, which includes live EEG (brainwave) data in combination with bowing. EEG data processed through custom MaxMSP programming is converted to a sound signal and output through a pair of transducers attached to the resonator of the bow chime.

The effect is such that the bow chime’s range of frequencies becomes focused where it is resonant with the EEG signal, and the two work together to produce complex layers of sound. Further, the normal haptic feedback loop between the bow chime and player, which allows the player to choose sympathetic bowing actions, is layered with the added element of biofeedback from the EEG sounds generated by the player in action.

An upcoming performance using this technique is scheduled for July 9, 2018, at the Apohadion Theatre in Portland Maine.

Champlin uses a modified bow chime developed by Matt Samolis. She has been studying ‘cymbal bath’ techniques with Samolis since 2017. The instrument is modeled on the original bow chime invented by Robert Rutman in 1967.

I Am Sitting… II

“I Am Sitting…” is an experimental performance installation which explores the potential of the mind to manifest itself in direct terms without mediation by physical gestures. Champlin has been developing it since early 2016 and has presented multiple iterations of the project, and has recently completed a residency at Hangar Interactive Labs in Barcelona to develop new instrumentation.

In this piece, EEG and ECG sensors capture passive bioactivity. A chain of simple translators in the form of custom hardware and software introduces the bio signals into primitive audio and video feedback loops, amplifying them to allow subtle changes in Champlin’s physical experience to percolate up as broad variances in the perceivable environment. Nothing seen or heard is prerecorded.

In partial homage to work by Alvin Lucier in the late 1960s, “I Am Sitting…” draws inspiration from two key points of interest. Firstly, and literally, work attempts to comment on the notion of bypassing the choreography of artmaking – moving outside the traditional notion of composition – such that the art is in the composition of the process itself. Secondly, the project’s roots came from an attraction to research by others such as Ernst Chladni and Hans Jenny regarding the transference of signals from one medium to another through the reductive mechanism of their underlying frequencies.

Within these contexts, this work attempts to demonstrate one method of removing the external gestures of performance and using internal control structures, such as information-coded biofeedback, in their place to effect an external change in the viewer’s perceptive field.

From a 2017 performance in Barcelona, featuring the new 8-node EEG

A 3D printed wireless EEG scanner with 8 nodes, built in 2017 at Hangar Labs in Barcelona.

Data visualizations and sonification with OpenBCI and custom MaxMSP synthesizers

An early iteration of the piece, “I Am Sitting,” performed at the Black Mountain College {RE}Happening biennial, 2017. Photo: Amy O. Pierce

A snapshot in the studio

An example of EEG data in an open source visualization tool

As the project has developed, Champlin has focused increasingly on the nature of networked communications systems and the implications they have for neutrality and mediation in language. The feedback loop’s responsiveness to minute fluctuations in EEG signals demonstrates the clear inability of the artist (as a component in a system) to be truly neutral.