Murmurate

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In Murmurate (previously named Fields) sounds are played through the audience’s smartphones. The connected devices become an array of speakers that the performers can control live, resulting in an omni-directional sonic experience. This piece is a collaboration between Tim Shaw and Sebastien Piquemal.

Alt text Murmurate - Mining Institure, Newcastle, UK [Image: Ben Jeans Houghton, 2015]

Murmurate has been performed around Europe and in the USA. Venues / Festivals / Events include:

Alt text Murmurate - Gap in the Air, Talbot Rice Gallery, Edinburgh, UK [Image: Chris Scott, 2015]

In 2016 the Murmurate system was used for a reinterpretation of Chris Markers' La Jetée and presented at the Glasgow Film Festival and the Edinburgh Entertainment Festival.

Alt text Murmurate (La Jetée) - Assembly Hall, Edinburgh, UK [Image: Chris Scott, 2016]

Alt text Murmurate (La Jetée) - Assembly Hall, Edinburgh, UK [Image: Chris Scott, 2016]

Murmurate has been presented as a workshop at Goldsmiths, Connect the Dots, Stereolux and Piksel. The system is released as an open source project, instructions and information here

A paper was published on Fields for NIME 2015 documenting our creative and technical approach, its open access and avaible here

Murmurate was kindly supported by New Media Scotland, Newcastle Institute for Creative Arts Practice, Culture Lab, The Creative Exchange and Sound and Music.

Alt text Murmurate - Gap in the Air, Talbot Rice Gallery, Edinburgh, UK [Image: Chris Scott, 2015]

Alt text Murmurate - ZDB, Lisbon, Portugal [Image: Juan Duarte, 2015]

Alt text Murmurate - Piksel, Østre, Bergen, Norway [Image: Zane Cerpina, PNEK, 2015]

Alt text Murmurate - Piksel, Østre, Bergen, Norway [Image: Zane Cerpina, PNEK, 2015]

Alt text Murmurate - Gap in the Air, Talbot Rice Gallery, Edinburgh, UK [Image: Chris Scott, 2015]

Alt text Murmurate - Gap in the Air, Talbot Rice Gallery, Edinburgh, UK [Image: Chris Scott, 2015]

Alt text Murmurate - Eastern Bloc / Sight & Sound, Montreal, Canada [Image: Justin Desforges, 2016]