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Cave of Sounds at Athens Science Festival, Talk at Flux

The new Cave of Sounds will be making its debut at Athens Science Festival on 25-29 April, with support from the British Council. Also, see below for details of the upcoming Flux event on New Social Sculpture at which I’ll be talking.

Cave of Sounds Tim Murray-Browne participant create music with interactive sound installation at Music Hackspace Somerset House Studios. Photo by Suzi Corker

Cave of Sounds @ Athens Science Festival

Thanks to support from the British Council, we’ll be launching the new production of Cave of Sounds at Athens Science Festival. We’re exhibiting in the former gas factory of Technopolis in central Athens on 25-29 April.

This is its first public outing – thanks to everyone who came to the previews in January. We’ve made a few final tweaks based on your experiences.

Come and jam with us on the eight piece ensemble if you happen to be in that neck of the woods, and tell all your Greek friends. Panagiotis Tigas, the Cave of Sounds artist who created Sonicsphere, is Greek himself and is busy translating our plinth instructions into Greek as part of our preparations.

FLUX Event: New Social Sculpture, Wed 2 May

FLUX is a media arts platform who run regular events in London to hear artists talk about their work. The next one, curated by Aphra Shemza, my collaborator on Post-Truth and Beauty (above), is about New Social Sculpture. It will explore how artists can have a social impact and challenge how people see the world.

I’ll be arriving directly from the airport back from Athens to give a presentation about these themes in my work, alongside Aphra Shemza, Blaire Zaye and Sebastian Kite.

See the Facebook event for more details.

Post-Truth and Beauty shortlisted for Zealous Art Prize

Post-Truth and Beauty has been shortlisted for the Zealous Emerge Digital Art Prize. Wish us luck!

Recommended events

Finally, a few events from friends coming up in London.

17-22 April 2018 Focus Inside Festival I was on the judging panel for the art competition and there are a few amazing installations that will be exhibiting (I don’t think I can reveal which ones yet!). Keep an eye on the program.

21 April 2018 Edited Arts presents Radiophonic, a tribute to the BBC Radiophonic Workshop A night of music, films, installations, talks and workshops in Tottenham. Make sure you see Adriana Minu’s Girls Just Wanna Have Phonics.

Also, some general recommendations:

10-13 May 2018 Splice Festival at Rich Mix and Stour Space The lineup looks great, and Stour Space have a very high standard of audiovisual exhibitions to maintain! I’m heading to Lisbon on the 12th for a residency with Temp Studio but I’ll be around for the first two nights.

Until 5 May 2018 The Encounter by Complicité/Simon McBurney at the Barbican. A one man play recounting the true story of National Geographic photographer Loren McIntyre, who became lost in a remote area of Brazil in 1969. It uses a binaural microphone on stage with a pair of headphones for each audience member to immerse you into his hallucinogenic journey. I saw this in Oxford in 2016 and it was phenomenal.

Hope to see you at some of the above! Til the next time.

Tim

Newsletter post on 10 April 2018

4-5 Nov 2017: Post-Truth and Beauty at We Are Robots Festival

Post-Truth and Beauty - interactive audiovisual installation by Tim Murray-Browne and Aphra Shemza. A participant contemplates while interacting with the immersive audiovisual installation.

Post-Truth and Beauty is an interactive experience exploring the blurring boundary between perspective and truth. Created in collaboration with Aphra Shemza, the luminescent sonic sculpture is ever shifting as the viewer’s head moves to different vantage points.

It returns in its next incarnation at We Are Robots Festival in Old Truman Brewery on Brick Lane in London. The festival explores the future of music and is open to the public for free over the weekend of 4-5 November. It also features work by my talented friend Yuri Suzuki and workshops from Music Hackspace and Hackoustic.

The Cave of Sounds returns

Cave of Sounds - Tim Murray-Browne - boy plays with Lightefface interactive digital musical instrument at Rome exhibition of International Sound Art Awards

Back in 2012 I led a group of eight musical hackers at The Music Hackspace to reimagine the relationship between performer and audience in music. The outcome was The Cave of Sounds, an installation of eight unique musical instruments that use technology to create a widely accessible experience of collectively making music. See this video for a brief refresher. Following its debut at The Barbican in 2013, the work travelled to Canada and Italy. It was awarded the 2014 Sonic Arts Prize and it remains one of my most popular works.

So I’m excited to announce that Arts Council England have awarded funding to rejuvenate and re-engineer the work. The Cave of Sounds (Mk ii) will be revealed at Salisbury Museum where it will be exhibited 27 Jan – 12 May 2018.

We will also be doing an invitation-only private view in London later this year. Follow @CaveOfSounds on Twitter for updates and watch this space for your invitation.

After the exhibition at Salisbury Museum, we’re planning a UK and international tour of the work. If you’re interested in talking more about this please get in touch.

A Portrait of the Moving Body

Tim Murray-Browne and Jan Lee - A hieroglyph from the audiovisual interactive dance performance This Floating World created through Jan Lee dancing while being tracked by a 3D camera and our interactive software. The image is an inspiration behind the participatory digital interactive installation Movement Alphabet.

A hieroglyph created from Jan’s movements using the software we developed for This Floating World.

Back in 2014 when I was creating This Floating World with dance artist Jan Lee, we created a central chapter where we used a 3D camera to let the dancer paint the wall behind with her body. As we played, we found various dance motifs created marks reminiscent of Chinese calligraphy. This turned into the Hieroglyphs chapter of the piece. It also left an interest in the physicality of writing: how the movements of the body are captured in the marks of a painter or the personality of someone’s handwriting.

With Movement Alphabet, we’re bringing these ideas into an interactive installation. The way we move our bodies, even as non-dancers, expresses a huge amount of our personality. Our characteristic movements are a tapestry of our past, blending conscious and unconscious influences with the unique mechanics of each individual’s body.

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A Frozen Fragment of Music Scattered Through Space

I’m excited to share a new interactive project, showing in London next week.

Anamorphic Composition No. 1 is a musical composition arranged through space rather than time. Originally commissioned by San Diego Art Institute for an exhibition about synaesthesia, this is the first of a series of works inspired by anamorphosis – 3D sculptures where an unexpected image emerges when you look from a certain angle.

In this piece, I’ve divided a moment of music into fragments of sound and arranged them as shards cutting through physical space. You can hear them as you move your head through the space, which is tracked by a 3D camera. Where the shards meet, sweet spots emerge where you can begin to hear some of the harmony of that original musical moment.

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Two tracks from 2010: The Piano Tuner, Sleepy Holborn

A couple of compositions I wrote in 2010 that began with environmental field recordings.

The Piano Tuner is based on a four hour recording of our piano being tuned by the piano tuner Ojo. I was living in a house in St Mary’s Gardens near Kennington in South London at the time. After many hours of efforts on the day we moved in, we realised the piano was too big to ever go further than the hallway behind the front door. It remained there for the year we lived in the house. To play, you sat in the living room doorframe. Every time anyone came in or out of the house they had to squeeze their legs through the 12cm or so gap that remained.

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