Staff Profile
Tim Shaw
Lecturer in Digital Media
- Email: tim.shaw@ncl.ac.uk
- Telephone: (0) 191 208 4635
- Personal Website: https://tim-shaw.net/
- Address: Digital Cultures Studio.
Culture Lab, Kings Walk,
Newcastle University,
NE1 7RU
Background
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), SoundArtist.ru, 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.
Research
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
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
SoundLines – FACT, Liverpool, 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
2017 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
Teaching
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.
Publications
- Shaw T. Ambulation. 2018. Multiple Venues Worldwide. Submitted.
- Shaw T. Fields. 2018. Multiple Venues Worldwide.
- Shaw T. Ring Network. 2018. Multiple Venues Worldwide. In Preparation.
- Shaw T. Reach. 2017. Galloway Forest Park: Sanctuary Festival, 2. Submitted.
- Shaw T, Bowen S, Bowers J. Unfoldings: Multiple Explorations of Sound and Space. In: New Interfaces For Musical Expression. 2016, Brisbane, Australia.
- Bowers J, Bowen S, Shaw T. Many Makings: Entangling Publics, Participation and Things in a Complex Collaborative Context. In: ACM Conference on Designing Interactive Systems. 2016, Brisbane, Queensland, Australia: ACM.
- Bowers J, Richards J, Shaw T, Frize J, Freeth B, Topley S, Spowage N, Jones S, Patel A, Li R, Edmondes W. One Knob To Rule Them All: Reductionist Interfaces for Expansionist Research. In: New Interfaces For Musical Expression. 2016, Brisbane, Australia.
- Shaw T, Piquemal S, Bowers J. Fields: An Exploration into the use of Mobile Devices as a Medium for Sound Diffusion. In: NIME 2015: Proceedings of the International Conference on New Interfaces for Musical Expression. 2015, Baton Rouge, LA: The School of Music and the Center for Computation and Technology (CCT), Louisiana State University.
- Hudson M, Shaw T. Dead Logics and Worlds: Sound art and sonorous objects. Organised Sound 2015, 20(2), 263-272.
- Arrigoni G, Schofield T, Shaw T, Bowers J. Prototyping Heritage: Collections, Materials and Emerging Approaches to Engagement. In: Proceedings of the 2nd Connected Communities Heritage Network Symposium. 2015, Sheffield: Heritage Network project.
- Shaw T, Bowers J. Public Making: Artistic Strategies for Working with Museum Collections, Technologies and Publics. In: International Symposium on Electronic Art. 2015, Vancouver, Canada: ISEA.
- Bowers J, Shaw T. Reappropriating Museum Collections: Performing Geology Specimens and Meterology Data as New Instruments for Musical Expression. In: New Interfaces For Musical Expression. 2014, London.