1. Movement Alphabet to debut at Tate Modern on 28 Oct

    Movement Alphabet by Jan Lee and Tim Murray-Browne - interactive digital art installation with live one-on-one performance to create movement portraits from participants

    I’m excited to announce that Movement Alphabet, my new work with Jan Lee, will debut at Tate Modern. Come join us on the evening of 28 October at the first in their Friday Lates series.

    We’re then showing around London the following two weekends.

    Movement Alphabet is a new interactive artwork combining 3D sensing technology with live one-to-one performance, created with dance artist Jan Lee. Immersed in a translucent pod, we invite you to have your ‘movement portrait’ taken. While a performer leads you on a journey exploring how you relate to your moving body, a 3D imaging system renders your movements into a visual portrait through a process akin to a calligraphy of the whole body.

    We want to challenge the disembodiment of our digital lives and broadcast the personality of the moving body – the lifetime of experiences, choices and habits entwined into our every physical gestures.

    Fri 28 Oct, 6pm – 10pm
    Tate Modern, London (map)
    Part of Uniqlo Friday Lates. Find us on Level 4 of Switch House.

    Fri 4 Nov, 11am – 4.30pm
    Sat 5 Nov, 10.30am – 1pm
    G.A.S. Station, London (map)

    Sat 12 Nov, 11am – 9pm
    Sun 13 Nov, 11am – 6pm
    Watermans Arts Centre, London (map)
    Part of the Digital Performance Weekender 2016

    Although there is plenty to see at the exhibition, bear in mind that participation is limited as it’s a one-on-one immersive experience. Sign-ups will be first come first serve, so consider coming to one of the quieter shows (the Friday at G.A.S. or earlier in the day at Watermans) if you’re super-keen to have your Movement Portrait taken.

    Movement Alphabet by Jan Lee and Tim Murray-Browne - inside the immersive pod where participants of this digital interactive art installation create their movement portrait through a participatory performance and digital process akin to a choreography of the whole body.
  2. 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.

    We’re exploring these everyday movements through a one-to-one interactive session with Jan Lee and digitally mapping them into an image creating a Movement Portrait of an individual. The experience is an exploration into how you relate to your own physicality, with the aim of creating an image that captures the essence of your physical presence.

    I’d like to invite you to the first public sharing of our work so far at the Raphael Gallery of the Victoria & Albert Museum on Saturday 16 July, 1pm – 4pm.

    A Movement Portrait of Shannon Woo by Jan Lee and Tim Murray-Browne, created by her movements being tracked by a 3D camera and rendered using bespoke software we created, part of the immersive participatory interactive art installation Movement Alphabet.

    A Movement Portrait of Shannon Woo moving to the element of Fire. This was made during our first round of testing in May.

    But before that, we’re inviting people into the studio to help us develop and test the work. This will be taking place at GAS Station in West Ham, London where we are currently artists in residence, between 27 June and 4 July. Drop me an email if you’re interested in coming to this.

    We’re also writing a Movement Portrait blog where you can see posts from both of us documenting how the project evolves.

  3. 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.

    I’ll be exhibiting the work for the first time in the UK at Panorama, the eclectic night of artistic experimentation run by my friend Aurélien at Genesis Cinema in Whitechapel, London. It’s showing day and evening on Monday 27 June.

  4. 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.

    Sleepy Holborn is based on recordings of a building site in Holborn, London, taken on Great Queen Street. This track was previously released on the compilation White Tape 1.