Two layers run in parallel: (1) continuous raw streaming for immediate “voice” motion, and (2) a slower computed feature layer that is translated into macro-scale sonic / spatial behaviors.

Data source (e.g. CSV) → streamer → OSC → Ableton Live (M4L) → audio / spatial / haptic output

Polysomnographic recordings (EEG + EOG/ECG/EMG) are streamed from CSV (typically using original 512 Hz sampling rate) and routed as individual control streams. In the music software, these streams can (a) continuously modulate synthesized tones (think a choir of continuously warbling voices), and/or (b) be downsampled/quantized to musical subdivisions (as orchestral instruments).

Raw layer: each channel as a continuous voice or (downsampled) instrument.
Feature layer: band-power (calculated across different selected eeg electrodes) generate larger contours and event-like cues (slower updates) that can steer tonality (key/scale), timbre, diffusion, and stability.

The interface is designed for exploratory listening—like moving a microscope around an inner landscape.

• Solo / mute / rebalance channels to compare regions (e.g., frontal vs occipital; left vs right).
• Contrast brain vs physiology by emphasizing EEG or isolating EOG / ECG / EMG.
• Stage comparison (wake → N1 → N2 → N3 → REM) by switching excerpts or selecting portions of recordings.
• Focus listening modes (e.g., “micro-detail” with or without broader “sleep weather” patterns)

The system can compute band power of different wavelengths (alpha, beta, delta, etc.) and map each to perceptual qualities such as density, agitation, brightness, stability, depth, and spatial diffusion.

Features are computed on short windows (seconds) with overlapping hops, then streamed (via OSC) in sync with (but at a slower update rate than) the raw layer.

(Mapping is intentionally adjustable: the same features can drive sound, light, spatialization, or haptics, depending on installation context.)

Auxiliary physiology is treated as an equal musical / physical partner.

• ECG (raw + derived): the raw ECG channel streams continuously, and a parallel detector extracts discrete heartbeat events. The system emits a short /eeg/ecg/beat pulse at each detected beat, plus continuous descriptors /eeg/ecg/ibi_ms (inter-beat interval, held between beats) and /eeg/ecg/bpm (computed as 60,000 / IBI, also held between beats).
• Heartbeat percussion (event-timed, not tempo-quantized): beat pulses trigger a drum voice in Ableton. A small Max “edge + refractory” stage prevents re-triggering: it fires only on the rising edge of each beat pulse and enforces a minimum interval (debounce / refractory) so the drum does not double-hit when upstream pulses are sampled.
• Heart-rate modulation (IBI / BPM): IBI and BPM are used as slow control signals to shape the character of the ECG drum chain (e.g., by modulating the gain of selected layers and/or mix parameters), so changes in cardiovascular state register as changes in intensity and balance rather than as extra triggers. In an additional mode, ECG-derived BPM can also be mapped to a dedicated Max for Live tempo-writer parameter that remotely controls Live’s global project tempo via the Live API, allowing the EEG instruments quantized to quarter-notes, eighth-notes, etc. to follow the heart-driven transport clock.
• ECG “energy envelope” (optional layer): the continuous ECG waveform can also be treated as an envelope (rectified + smoothed) to gently animate the gain/presence of the ECG chain and/or the broader physiology bus (ECG/EOG/EMG), adding subtle “organismic” motion beyond discrete beat hits.
• EOG + EMG: eye (EOG) and muscle (EMG) channels stream as continuous signals and are rendered as their own instrumental voices (synth / sampled textures). The mappings are intentionally chosen to echo the rhythmicity and complexity of each signal.

Reliability note: where needed, simple cleanup is applied at the trigger stage (edge detection + refractory/debounce) to ensure one clean event per beat, while keeping raw streams available for inspection and alternative mappings.

These options are chosen before streaming (in the CSV→OSC streamer and run menu). Real-time controls (mute/level/mapping depth/etc.) live in the Ableton/M4L layer.

Configured: Menu prompt = asked each run; Menu auto = set silently.

Streamer (CSV → OSC)

Additional developer-level parameters exist (naming, network robustness, detector tuning), but are not exposed in the run menu.

Run menu (batch playback)

• Select multiple staged excerpts and play them sequentially.
• Optionally precompute feature caches (and exports) first to keep playback gapless.
• Choose aggregation presets for features (event/rem/custom) and optional boosts.
• Optional per-stage exports: reports (text/plots) and video renders (mp4/gif) in a dedicated folder structure.

A set of listening cues: these are common tendencies, not guarantees. Sleep stages are variable, but they have detectable—and perceptible—signatures.

• Wake: often more alpha/beta presence; faster “edge” motion.
• N1 (drowsy onset): alpha tends to soften; theta often emerges as drifting depth.
• N2: spindles can appear as brief shimmering bursts; K-complexes can read as sudden large-scale gestures.
• N3 / SWS: delta dominance—slow, heavy waves; strong synchronizations can feel like collective breathing.
• REM: mixed-frequency textures; EOG gestures may become more prominent.

Orchestral instrument mappings: downsampled / quantized streams drive MIDI synth and sample instruments at musically meaningful rates. This supports coherent instrumental texture.

Synth choir mappings: each channel continuously modulates a dedicated synth voice in real time. This preserves micro-timing and yields a richly textured “choral” surface where rhythms and synchronizations become audible through fine pitch motion.

In each case, band power features can be computed and added in as perceivable layers (of tonality, timbre etc.)

These approaches can be mixed (e.g., continuous choir + quantized orchestra layer), and the same features can drive sound, light, spatialization, or haptics depending on installation context.

The physiology layers can also be mapped direct to synth choir, but it seems more fitting that these —or at least the ECG streams— remain mapped to percussive and synth sounds, as (the ECG in particular) has been carefully calibrated (i.e. with a custom-built MAX patch to filter most likely peak values that correspond to heart beats).

EEG labels follow the International 10–20 naming convention (F/C/T/P/O, left/right, midline).

(Exact channel availability depends on the recording montage and the excerpt.)