RESPONSES to your feedback so far.... 

Addressing the question of how it is "durational" - This work exists in the act of sitting in place and concentrating or meditating to create specific states of mind. It can be open-ended, like an installation, which is durational in the sense that it is ongoing until I can't continue (ie. physical, mental exhaustion); otherwise it can adhere to a score which gives it specific duration. The current working score is less than 25 minutes. [When using the score, there is actually a text-based projection that narrates the piece, guiding the audience (and me) through the meditative steps that produce different phenomena in the sounds generated.]

Addressing how/whether the audience is part of the feedback loop: they most certainly are and it becomes obvious to any audience given the opportunity to enter into the performance space. Their presence and movements within the space actively inform the EEG data being generated, resulting in a 'pitch-bent' audio signal that they can hear in real time. This is strikingly intuitive in situ, but still such a strange proposition that audiences tend to play or test the space around the performer, trying to verify whether their actions are really changing the sound. And they definitely are, but it's not totally clear how. 

References to agency and interpersonal interaction are specific to the fact that the audience experiences the piece from INSIDE its perimeter, and actively influences the data generation by interacting with the performer. 

Addressing the question of the audience potentially wearing the BCI: I don't think that's practical. I would consider this in workshop mode but not in open public interaction. Additionally, I think that evades the point - this work is speaking about how we influence one another's perception, and I think that putting the audience in the performance seat would focus too much on the individual experience of self rather than the interactive expression of the system as a whole. 

{function: response, keywords: [EEG, performance, sonification, audience, agency, interaction]}

LINKS ----

EEG Sonification:

EEG & bow chime:

{kind: reference, keywords: EEG}

Alicia Champlin


BIO ------

Alicia Champlin is based in Orono, Maine, with frequent trips to Barcelona, while on the final stretch to defending her MFA thesis this summer.

Champlin has exhibited internationally, including solo shows in Orono (Maine, USA) and Barcelona (Spain). In addition to performance and installation work, she also presents her research and custom interfaces in hands-on workshops and demonstrations of open-source technologies.

Drawing upon an academic background in Critical Methodologies and Japanese/Buddhist Art History, and a professional history in data processing and web technologies, Champlin joined the University of Maine's Intermedia MFA program in 2015. Much of Champlin's research prior to 2015 centered around pilgrimage, travel, and landscape as ways to communicate identity and make sense of our social environments.

Since beginning her MFA studies, Champlin's research & creative practices have come to focus on feedback-driven, generative systems in pursuit of the phenomenological intersection of networked communication and identity. Drawing influence from the provocations of Alvin Lucier, Marina Abramović, and mentor N.B.Aldrich, her work aims to explore issues of agency, authorship, neutrality, and truth with process-based, interactive methodologies.

{kind: biography, persons: Alicia Champlin}

meta: true
date: Jun-2018
author: Alicia Champlin
event: Thresholds
place: Lydgalleriet