Culture Lab Newcastle

Staff Profile

Tim Shaw

Lecturer in Digital Media


Tim Shaw is an artist working predominately with sound and new media. His work is concerned with the many ways people listen, specifically how listening environments can be explored and reconfigured using a diverse range of techniques and technologies. His work uses a variety of self-constructed technologies to playback and manipulate recordings to create complex sonic environments and by appropriating communication technologies to explore how these devices change the way we experience the world. Shaw’s background in recording sound led to his creative use of field recordings. ​

Particularly interested in the relationships between site, sound and technologies, Shaw presents work through electro-acoustic audio performances, installations, walks and site-responsive interventions. His practice attempts to expose the mechanics of systems through sound to reveal the hidden aspects of environments and technologies. His practice is situated within media art. ​

Collaboration plays a central role in his approach, he has co-produced work with Chris Watson, John Bowers and Phill Niblock. Shaw has presented work at galleries, festivals, museums, through residencies and cultural events nationally and internationally including: Novas Frequencias, Brazil (2019),, Moscow (2019), CAMP, France (2019), Arnolfini, Bristol (2018), Experimental Intermedia, New York (2018), Cafe OTO, London (2018), Brighton Dome (2018), New Ear Festival, New York (2018), History of Bosnia Museum, Sarajevo (2018), ARC, Switzerland (2018), bb14, Linz (2017), Stereolux, Nantes (2016), Baltic, Gateshead (2017), Touch Radio (2016) FACT Liverpool (2016), Eastern Bloc, Montreal (2016) and The Wired Lab, New South Wales, Australia (2016). 

Google Scholar: Click here.


My practice-based and theoretical research interests include 

  • How digital media practices are in dialogues around thinking through making and research through design
  • How contemporary sound technologies affect listening practices
  • How we can use various technologies to engage with archive content and digital technology as heterogeneous materials for the creation new art works
  • How a creative approach to digital technology can value process over production 

Artistic Residencies

2019           Resilience, Silo Serrinha do Alambari, Brazil

South Walney Nature Reserve Cumbria, UK

                        Electronic Music Studio Stockholm, Sweden


2018           ARC – Romainmôtier Switzerland

InterArts Centre Malmö, Sweden


2017           bb15 Linz, Austria


2016           ARC – Romainmôtier, Switzerland

FabLab Sunderland, UK

The Wired Lab Cootamundra, Australia

Stereolux Nantes, France

WARMTH Sauna London, UK


2015               Uncanny Valley – LoveBytes, Sheffield, UK

FACT Liverpool, UK.

Discovery Museum Newcastle-upon-Tyne, UK


2014               Pacitti Company Ipswich, UK


Selected Exhibitions

2019           Words With Worlds – Newcastle University, UK

                  Cyborg Garden – Matadero Madrid, Spain

                        Ring Network – xCoAx, Milan, Italy

                        FLUX – Central Station, Newcastle, UK

                        Transmission Line – Sonica Festival, Ljubljana, Slovenia


2018           Rather Than To See – Globe Gallery, Newcastle, UK
Jarrow Slake
 – Fri-Art, Fribourg, Switzerland

Self-Build Utopias – Northern Stage, Newcastle, UK
Moving Billboard – Various locations across Albania


2017           Collect / Diffuse bb15, Linz, Austria

Between Stillness and Storm Bluedot Festival, Jodrell Bank, UK
Radio Television – Sanctuary Festival, Dumfries, UK
Plain Changes – St. Andrews Church, Heckington, UK
Disruptive Witnessing – 
Čolaković Legacy Gallery Belgrade, Serbia


2016           Ring Network New Bridge Project, Newcastle-upon-Tyne, UK

Re-Render ISEA, Hong Kong

GUST – Fort Process, Newhaven, UK

Lack m20d, Salzburg, Austria


2015           Bergen Invocation – Piksel Festival, Bergen, Norway

SoundLines – FACT, Liverpool, UK

Tuning In Discovery Museum, Newcastle, UK


Selected Performances

2019           Lixo no Lixo – MAM, Rio, Brazil w / Novas Frequências
Lixo no Lixo
Silo, Serrinha do Alambari, Brazil

Ambulation CAMP, Aulus-les-Bains, France

Ambulation Sonica Festival, Ljubljana, Slovenia

Points of Failure Garage MU, Paris

Points of Failure ICCA, Moscow, Russia

Points of Failure Le General, Paris

Sensing the Gap – Tyneside Cinema, Newcastle, UK

Mythogeosonics – IKLECTIK, London, UK

Mythogeosonics – Reid Concert Hall, Edinibugh, UK

Still – Klub Spatif, Warsaw, Poland

Still – Sanatorium, Sokolovsko, Poland

Microstructure – Full of Noises, Barrow-in-Furness, UK


2018           Berlin Sensor – Spektrum (CTM Vorspiel) Berlin, Germany

Mythogeosonics – Experimental Intermedia, New York, USA

Returning the Ear – Folk Museum, Vienna, Austria

Returning the Ear – Fylkingen, Stockholm, Sweden

Returning the Ear – InterArts Centre, Malmö, Sweden
Beyond the Museum – Shipley Art Gallery, Gateshead, UK
Disrupted Witnessing
History of Bosnia Museum, Sarajevo,

Ring Network – New Ear Festival, New York City, USA

UniversalTransformationMachine – Piksel Festival, Bergen, Norway

         Sacrificial Floors – Arnolfini, Bristol, UK

            Sacrificial Floors – IKLECTIK, London, UK   



Returning the Ear – Northern Charter, Newcastle, UK
                        Interpretation of La Jetée – Glasgow Film Festival, UK
                        SPAN BALTIC, Gateshead, UK
                        Ring Network DMU, Leicester, UK
                        Into the Woods –Allenhead Comtemporary Arts, UK
                        Amble – ARC, Romainmôtier, Switzerland



2016               Murmurate – FACT, Liverpool, UK                                      

Murmurate – Stereolux, Nantes, France

Murmurate – Eastern Bloc, Montreal, Canada
            Remote – NEAR Festival, APO33, Nantes, France
            Returning the Ear – 4s, Barcelona, Spain
            Ambulation –    FACT Liverpool, UK

Ambulation – Piksel Festival, Bergen, Norway


My approach to teaching involves a practical engagement with sound and technology and is informed by my own practice-lead research concerns and my artistic practice. 

I have taught programmes and run workshops in sound, listening and technology at Goldsmiths University (UK), Stereolux (France), Piksel (Norway), Music Hackspace (UK), Sussex University (UK), Tyne and Wear Archives and Museums (UK) and FACT Liverpool (UK). 

I teach through a practical approach, allowing students to creatively explore sound within their own practice, and through doing so acquire an understanding of relevant historical work.