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Sonified Body call out: Dancer collaborator

Post-Truth and Beauty - interactive light and sound installation by Tim Murray-Browne in collaboration with Aphra Shemza. Light and 3D sound change in response to the viewer's head position. Exhibited here at We Are Robots festival at Old Truman Brewery, 11-12 Nov 2017


Artist and Creative Coder Tim Murray-Browne is seeking 2 solo dancers to participate independently in a 2-day research and development lab for his latest performance work Sonified Body.

Sonified Body is a research project using artificial intelligence to create an instrument that transforms the moving body into sound in real-time. The project’s primary aim is to create a system that feels intuitive, and responds holistically and continuously to the entire body.

During this research and development lab a pilot technical system designed by Tim Murray-Browne in collaboration with artist and AI researcher Panagiotis Tigas will be set up that tracks the body using a camera to create an instrument controlled by movement. The purpose of this lab is to explore the potential of this technology both in terms of the experience of the person interacting with it and in terms of its artistic potential within a performance context.

We aim to produce video documentation of each 2 day workshop which could include a short performance. We want to build a relationship with a dancer for future development of the project in 2021.

This residency is supported by Preverbal Studio, Creative Scotland, CCA, Feral and Present Futures Festival.


Tim Murray-Browne is an artist and creative coder from the UK creating interactive installations and performances. His work explores how our sense of self is formed through our lived, embodied experience. It includes ensembles of bespoke musical instruments performed by the audience, audiovisual landscapes generated by the movement of a dancer, interactive light and sound sculptures that respond to the viewer’s position and immersive one-on-one performances to transform an individual’s memories into calligraphic images. It has been exhibited around the world at venues including Tate Modern, The Victoria & Albert Museum and Berkeley Art Museum.



  • The selected dance artist must be available to participate in the 2 day lab at the Centre for Contemporary Arts in Glasgow during either Mon 14- Tues 15 December or Wed 16- Thurs 17 December, 2020 from 10am to 6pm.
  • We’re looking for a dance artist to participate that is comfortable with improvisation and bringing their own choreographic language to the rehearsal room. We will be working with an experimental technical system and are interested in connecting with dancers working in varied styles (e.g. hip hop, butoh, contemporary dance, ballet – anything goes) provided they have a strong basis in improvisation.
  • The dancer should have a familiarity with somatic practices, e.g. moving in response to what is felt in the body, and how the body is being affected by the sound and dialogue that emerges from interacting with the system. Experience working with creative technologists, and an interest in how the body and tech work together are also desirable.
  • We’re looking to create a collaborative atmosphere of exploration so we are looking for collaborators with a strong sense of openness, curiosity and communication.


£400 (2 Days x £200 per day) + a limited travel stipend if you are based outwith Glasgow.


To apply please send:

  1. A ‘Note of Interest’ which should include a short introduction to yourself and why you are interested in taking place in the research and development lab. ‘Notes of Interest’ can take the form of either a cover letter, voice note or a video recording.
  2. A video link to an excerpt of you dancing in a piece you have choreographed or improvised.
  3. An overview of your practice to date this could include either a CV, personal statement or a link to your website.

‘Notes of Interest’ should be emailed to sonifiedbodycallout {_art_} timmb {_dort_} com by Mon 2 Nov 2020. Prospective collaborators will be invited for an informal conversation with Tim Murray-Browne about the project which will take place on Mon 9 Nov 2020. We plan to hold conversations over Zoom but please let us know if this presents any accessibility issues (e.g. disability or limited internet access) and we can discuss how best to support your requirements. Successful candidates will be notified by Mon 16 Nov 2020.


CCA and Tim Murray-Browne will have COVID 19 risk assessments and recovery plans in place to ensure the safety of all collaborators whilst working in the building. These plans are available if you would like more details. The planned activity is subject to COVID 19 restrictions and in the event of any further lockdown or a change in Government guidelines the scheduled labs may be rescheduled or cancelled.

Post-Truth and Beauty at Sonica Glasgow 2019

In September I relocated to Glasgow, and I’m excited to have the opportunity to exhibit Post-Truth and Beauty here. The audio-luminescent installation of shifting worlds and fragmented perspectives will exhibit at the Centre for Contemporary Arts (CCA) as part of Sonica festival.

Dates: 31 Oct – 10 Nov Times: 11am – 6pm Free entry

I’ll also be joining fellow exhibitor Navid Navab on a panel talk Science as Art, chaired by Colm McAuliffe, Sunday 3 Nov at 1pm.

This work I originally created with Aphra Shemza in 2017, in the aftermath of the Brexit and Trump votes. Here’s a bit more about it:

Twelve glowing rods intersect between walls, floor and ceiling, as if they were exposed elements from a much larger structure. In front, there is a ring of speakers into which a visitor is invited.

Once inside, the visitor is immersed in a soundscape of slowly evolving textural sounds. The installation tracks the location of the visitor’s head. It combines this with the 3D speaker ring to create the illusion that each sound is floating in a fixed position. This creates a seamlessly accessible interaction, drawing on our natural ability to spatially locate sound.

Each sound is paired with a colour palette, which takes over the LEDs in the rods as the sound is approached, flickering in time with the sound’s oscillations. Light and sound combine to create the sense of a reactive, living entity.

Sound is transformed from a temporal medium into a sculpture – uncovered with the active agency of a mobile observer. Together the sounds construct a rich harmony but only partial combinations can be heard at once.

The work invites viewers to consider perspectives other than their own, as they move through a space in which visual and musical elements are fragmented. Only by considering the work from many angles can a broader sense of the whole emerge. With debate online and in real life becoming ever more polarised, Post Truth and Beauty aims to remind us of the dangers of retreating into silos and disregarding other points of view.

If you are in town or visiting then drop me a message. I’ll be around for the festival apart from 4-7 Nov when I’ll be in London. There, I’m taking part in the QuestLab residency on creative technology and choreography at Studio Wayne McGregor. Watch this spot for updates.

Cave of Sounds nominated for the STARTS Prize

I have exciting news today, which is that Cave of Sounds has received a nomination for the 2019 STARTS Prize.

Also – new video material of Cave of Sounds at Athens Science Festival, Post-Truth and Beauty at We Are Robots Festival and a new audio-visual performance commissioned by UNESCO.

Cave of Sounds - interactive sound installation by Tim Murray-Browne and members of Music Hackspace, exhibited at Athens Science Festival 2018. The interactive sound installation is shown here with many participants playing the different instruments. Photograph by Anastasia Alekseeva. (c) 2018 Tim Murray-Browne.

Read more…

Who is that voice in your head speaking to?

Photo of a tree and a lake. (c) 2007 Tim Murray-Browne

There seems at first something a bit pathetic about spending your time rehearsing conversations you might have with people. And yet, I recently observed that this seems to be how my thinking process operates. My internal monologue, the inner voice of the mind, is near exclusively in the form of an imaginary conversation with somebody. I have a hunch that this might be quite common. After all, it took me a while to admit this to myself, let alone broach the subject with others.

It gets worse though. At that time I was often listening to the Tim Ferriss podcast, and I observed that a fair few of these imaginary conversations were with him, as if I were a guest on the podcast. How embarrassing – whiling away the hours fantasising about being on a geeky self-development podcast. Why him?

I began trying to observe who my internal interlocutors were, these select few individuals that I’ve unconsciously chosen to imagine listening to my internal monologue. In doing so, I became aware of the impact they were having on me. This was not obvious to me. After all, while my imaginary interlocutor listens to my ramblings carefully and tirelessly, they rarely seem to have anything to say themselves (hence ‘monologue’), so much so that it took me a while to realise that there was anyone listening at all. But the effects of whom I choose to speak with are more subtle. They are fundamental to how I think, how I select which ideas will be attended to among the sea of possibilities. Read more…

Cave of Sounds arrives in London this September

Hello! I’m excited to announce that the new production of Cave of Sounds will have its first UK exhibition this September at Watermans Arts Centre.

Cave of Sounds began in 2012 at Music Hackspace as an experimental process exploring the idea of ensemble within the music hacker community. Eight artists (myself included) each created a new musical instrument embodying our own personality and practice, while simultaneously responding to what others in the group were creating. These instruments are presented without players with visitors invited to explore and play.

Top view of Cave of Sounds before any participants arrive, exhibited at Athens Science Festival 2018. Photo by Anastasia Alekseeva.

Following a few years of touring, this year we completed a new version of the work, re-engineered and with a bespoke set, which many of you saw in the private preview in January. We debuted at Athens Science Festival in April to over 11,000 visitors including adults, students and children. Here, the work was also featured on daytime TV to over two million viewers.

Read more…

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. Read more…

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.

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