Bio
Tim Murray-Browne is a computational artist, engineer, coder and researcher based between Montreal, Glasgow and London. His work explores AI, embodiment and how technology shapes our minds. Holding a first-class degree in Mathematics and Computer Science from Oxford University and a PhD in Interactive Music from Queen Mary University of London, he connects dance, image, sound and algorithm to create interactive systems that aim to recover the parts of human wildness left behind by technology. He shares the emergent critical perspectives on technology, art and AI in his newsletter ART⋂CODE.
Murray-Browne’s work is deeply collaborative, such as Cave of Sounds (2013), an ensemble of instruments created by an experimental non-hierarchical ensemble of instrument-makers and performed by its audience. The work continues to tour internationally and was awarded the Sonic Arts Award and nominated for the Ars Electronica STARTS prize.
His work has shown at Tate Modern, Victoria & Albert Museum, Electro-Magnetic Field, Barbican and the Leonardo da Vinci Museum of Science and Technology, Milan. Residencies includes Sound and Music composer in residence, Studio Wayne McGregor, Cove Park and the Centre for Contemporary Arts, Glasgow. He was previously associate artist at Music Hackspace based at Somerset House Studios, and currently a resident artist with Machine Agencies group at the Milieux Institute at Concordia University, Montreal. He is also a part-time post-doctoral researcher in the Audio Experience Design group at Imperial College London, and founder of Preverbal Studio, supporting artists and studios such as Anna Meredith, Field and Random International.
Statement
My work explores the parts of being human that gets left behind when we interact with technology.
An interactive system constructs a world. It defines not only what you experience but what actions you can take and what consequences ensue. What dynamics of power are implied by an interaction? How does this shape the intuitions and implicit assumptions of our embodied minds? Most digital interaction today is built around bureaucratic processes of data entry. My work aims to reveal how it could be so different in the future.
My background is in computer science and coding is my primary means of creation. I value this closeness to the craft of technology and what it reveals, while remaining attentive to how it can distort my perspective.
Much of my work speculates on how different our relationship with technology might be. I create interactive works that celebrates the wildness of being human and amplifies our capacity for empathy, compassion and self-organisation. I also create technology that exposes its own problematic nature: its tendancy to homogenise human identity, to divorce us from our bodies, to invisibly reinforce power dynamics, to impose discrete structures onto an ambiguous reality, to isolate those who diverge from its norms.