Tom Davis

Dr Tom Davis

  • u_tdavis at bournemouth dot ac dot uk
  • Associate Head of The Media School
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Biography

Tom Davis is a Associate Professor in Music and Audio Technology. In addition to PhD supervision he teaches on the BA Music and Sound Production degree. Davis is also a practicing artist working mainly in the realm of sound installation and live performance. Davis has exhibited and performed throughout Europe and in the United States and holds a PhD from the Sonic Arts Research Centre, Belfast.

Research

Instrument building; Technologically mediated Improvisation; Enaction, Embodiment, Post-Phenomenology, Sonic Art, Participation in Music as Practice, and situations that examine the interface between music and technology.

Favourites

Journal Articles

  • Brett, J., Christos, G., Tom, D., 2025. Graveyard Symphony; A Study Investigating the Effectiveness of a Prototype Music Game. Games: Research and Practice, 3 (1).
  • Challéat, S., Farrugia, N., Froidevaux, J.S.P., Gasc, A., Pajusco, N., Zina, V., Puccherelli, I.Z., Xie, S., Wu, Y., Windsor, F.M., Whyte, D.L., Wearn, O.R., Watson, C.J., Walton, W.D.J., Vrignault, J.D., Vivat, A., Vinet, O., Villén-Pérez, S., Oliveras, J.V., Victor, P.J., Ventrice, G., Vega, K., Vargas Soto, J.S., Ullrich, P.A., Tuninetti, A., Townsend, K., Tovar-Garca, J.D., Todd, M., Thompson, M.E., Templeton, C.N., Tattersall, F., Tarrant, I.B., Sugai, L.S.M., Sueur, J., Sourdril, A., Soto-Navarro, C., Sinclair, P.F., Simon, V., Silva, B.M., Sierra-Durán, C., Shepherd, B., Shaw, T., Serronha, A.M., Segurado, P., Sebag, M.S., Scherer-Lorenzen, M., Schai-Braun, S.C., Savage, D., Santos, J.M., Sandfort, R., Sadhukhan, S., Ryser, A.M., Rouy, Q., Ross, S.R.P.J., Rosa, J., Roos, A.L., Romaine, L., Rodrguez-Rodrguez, E., Rodrguez-González, P.M., Rodrigues, C.F., Rivera, V., Reginster, J.B., Reed, M., Reckinger, G., Rasmussen, R., Ramos, M., Quiroga, N.I., Quinn, J.E., Quaglietta, L., Puig-Montserrat, X., Puechmaille, S.J., Prugh, L., Proulx, R., Proppe, D.S., Pratt, V., Power, A., Poppele, J.M., Poff, Z., Pinto, N., Pijanowski, B.C., Philippe, M., Peyronnet, C., Barreiro, S.P., Pereira, J.M., Patankar, S., Parisot, M., Paris, S., Paiva, V.H., Owren, J.O., Ouertani, M., Ocampo, D., O’Mara, M.T., O’Connell, D.P., Marcaigh, F., Nyssen, P., Nunes, J.T., Newton, A.C., Naka, L.N., Murillo-Bedoya, D., Mueller, S., 2024. A dataset of acoustic measurements from soundscapes collected worldwide during the COVID-19 pandemic. Scientific Data, 11 (1).
  • Davis, T., 2024. Ambiguous Devices as an example of a networked relational encounter. International Journal of Performance Arts and Digital Media, 20 (2), 267-280.
  • Garcia, D., Davis, T., 2024. From telepresence to teletrust. International Journal of Performance Arts and Digital Media, 20 (2), 163-168.
  • Ferraris, C., Davis, T., Gatzidis, C., Hargood, C., 2023. Digital Cultural Items in Space: The Impact of Contextual Information on Presenting Digital Cultural Items. Journal on Computing and Cultural Heritage, 16 (4).
  • Stapleton, P., Davis, T., 2021. Ambiguous Devices: Improvisation, agency, touch and feedthrough in distributed music performance. Organised Sound, 26 (1), 52-64.
  • Ward, A., Davis, T., Bevan, A., 2019. Music technology and alternate controllers for clients with complex needs. Music Therapy Perspectives, 37 (2), 151-168.
  • Davis, T., 2019. Instrumental intentionality: an exploration of mediated intentionality in musical improvisation. International Journal of Performance Arts and Digital Media, 15 (1), 70-83.
  • Davis, T., 2012. Complexity as Practice: A Reflection on the Creative Outcomes of a Sustained Engagement with Complexity. Leonardo, 45 (2), 106-112.
  • Davis, T., 2011. Towards a Relational Understanding of the Performance Ecosystem. Organised Sound, 16, 120-124.
  • Davis, T., 2010. On Listening to Installation. Performance Research: A Journal of the Performing Arts, 15, 66-71.
  • Davis, T., 2010. Complexity as Process: Complexity Inspired Approaches to Composition. Organised Sound, 15 (2), 137-146.
  • Davis, T., Ward, N.. Ordnance Survey: Exploring Activity through Large Scale Topologies and Auditory Mappings. Parsons Journal for Information Mapping, 2.
  • Davis, T.. The Ear of the Beholder: Ecology, Embodiment and Complexity in Sound Installation. Leonardo Electronic Almanac.

Books

  • Stapleton, P., Davis, T.. Ambiguous Devices: Improvisation, Agency, Touch and Feedthrough in Distributed Music Performance. Porto: i2ADS - Research Institute of Art, Design and Society.
  • Hammersley, J., O'Reilly, S., Renaud, A.. LIVENESS. EMERGE -Experimental Media Research Imprint.

Conferences

Reports

Exhibitions

  • Davis, T., McKinney, C., 2012. Flow. Sound Installation. Tiny Tate. Tate Britain.
  • Davis, T., Stapleton, P., 2012. Ambiguous Devices. Installation. New Interfaces for Musical Expression. NIME 2012. Ann Arbor, Michigan & Bournemouth University, England. 21/05/2012.
  • Davis, T., 2011. Working Title. Mixed Media. Working Title. Aspex Contemporary Art Gallery. Portsmouth. 05/09/2011.
  • Davis, T., Renaud, A., McKinney, C., 2010. Flow. Mixed. Public Domain. Bournemouth Lower Gardens. 16/07/2010.
  • Davis, T., Ward, N., 2009. Ordnance Survey. Mixed. Hilltown New Music Festival. Hilltown, County Westmeath, Ireland. 18/07/2009.
  • Davis, T., 2009. Bus Stop. Mixed. Oxford Contemporary. OVADA, Oxford. 07/02/2009.
  • Davis, T., 2008. Rules and Regs. Mixed. Rules and Regs. Aspace gallery, Southampton. 01/05/2008.
  • Davis, T., 2007. Cross-Pollination. Mixed. FIX'07 International Performance Festival. Catalyst Arts, Belfast. 26/11/2007.
  • Davis, T., O'Modhrain, S., 2007. Radio Streams. Mixed. Enaction in Arts. Enaction in Arts, Fort de la Bastille, Grenoble. 19/11/2007.
  • Davis, T., 2006. Cycle Sonic. Bring the Noise. Catalyst Arts, Belfast. 16/10/2006.
  • Davis, T., 2006. Excuse Me!. International Conference on Auditory Display. ICAD, Queen Mary University, London. 20/06/2006.
  • Davis, T., 2005. Natural Selection. Musica Viva. Musica Viva, Lisbon, Portugal. 17/09/2005.
  • Callus, P., Davis, T., Callus, P., Rega, I.. Chembamba kina siri kubwa. Installation. In/Visible Margins. Lees Gallery, Bournemouth University. 01/12/2018.

Performances

  • Reid, L., Davis, T.. Feedback Musicianship Network Concert. Improvisation with the Feral Cello and Cello + DSP. The Meeting House, University of Sussex, Falmer, UK. 12/05/2022.
  • Davis, T., Reid, L.. The Feral Cello: A collaborative cello and electronics practice.. Feral Cello. Cello & Live Electronics. Birmingham Conservatoire, Birmingham. 03/12/2019.
  • Troisi, A., Davis, T., Amelidis, P., Seddon, A.. nonRecursive. Bournemouth Emerging Arts Fringe: The Engine Room, The Old Fire Station. 01/05/2018.
  • Davis, T., Reid, L.. Gemmeleg.. Performance for the Feral Cello. Sound Music Computing Conference, Helsinki. 05/07/2017.
  • Davis, T., Reid, L.. Gemmeleg. Performance for the Feral Cello. NIME 2017, Black Diamond, Copenhagen. 18/05/2017.
  • Davis, T., Reid, L.. Gemmeleg. Performance for the Feral Cello. NIME 2017, Black Diamond, Copenhagen. 18/05/2017.
  • Davis, T., Reid, L.. Gemmeleg. Performance for the Feral cello. Noisefloor 2017, Staffordshire University, Stoke On Trent. 04/05/2017.
  • Davis, T., Reid, L.. Gemmeleg. Performance for the Feral cello. Noisefloor 2017, Staffordshire University, Stoke On Trent. 04/05/2017.
  • Davis, T., Troisi, A., Seddon, A., Canning, R., Thompson, B., Chiaramonte, A., Borgo, D.. NonRecursive @ Symposium on Interagency in Technologically-Mediated Performance. Performance. Bournemouth University. 29/01/2016.
  • Davis, T., Troisi, A., Seddon, A., Canning, R., Thompson, B., Chiaramonte, A., Borgo, D.. NonRecursive @ Symposium on Interagency in Technologically-Mediated Performance. Performance. Bournemouth University. 29/01/2016.
  • Davis, T., Troisi, A., Seddon, A., Thompson, B., Canning, R., Chiaramonte, A.. NonRecursive. Performance. Bournemouth Emerging Arts Fringe: The Engine Room. 15/10/2015.
  • Davis, T., Troisi, A., Seddon, A., Thompson, B., Canning, R., Chiaramonte, A.. NonRecursive. Performance. Bournemouth Emerging Arts Fringe: The Engine Room. 15/10/2015.
  • Davis, T., Stapleton, P.. Ambiguous Devices. Performance. Re-New 2013, Copenhagen. 28/10/2013.
  • Davis, T., Stapleton, P.. Ambiguous Devices. Performance. INTIME, Coventry University. 19/10/2013.
  • Davis, T., Stapleton, P.. Ambiguous Devices. Performance. NIME 2012, Ann Arbor, Michigan and Bournemouth University. 21/05/2012.
  • Davis, T., Stapleton, P.. Ambiguous Devices. Stanford USA & Bournemouth UK. 27/04/2012.
  • Davis, T., Geistweit, J., Renaud, A.R., Dixon, J.. The Loop. Network Music Festival, Birmingham. 27/01/2012.
  • Davis, T., Geistweidt, J., Renaud, A., Dixon, J.. The Loop. NIME 2011, Oslo, Norway. 30/05/2011.
  • Davis, T., Geistweidt, J., Renaud, A., Dixon, J.. The Loop. arts.on.wires, Oslo, Norway. 25/05/2011.

Artefacts

Others

PhD Students

  • Vicky Isley. Body as Landscape: A Visual Aesthetic Model for Sensual Awareness of Challenges on our Environment, (In progress)
  • Asha Ward, 2020. MAMI Tech Toolkit Utilising Action Research to Develop a Technological Toolkit to Facilitate Access to Music-Making, (Completed)
  • Lucy Childs, 2022. The Quest for Life and Intelligence in Digital Puppets., (Completed)
  • Katy Connor. Untitled_Force: 3D Print as Poetic Praxis
  • Liam Birtles

Invited Lectures

  • Welcoming the Stranger, Arts University Bournemouth, 12 May 2025 more
  • Ambiguous Devices Book Launch, University of Porto, 14 Dec 2023 more
  • The Feral Cello, Birmingham Conservatoire, 03 Dec 2019 more
  • Connecting Communities of Music Technology, Bournemouth University, 05 Dec 2018 more
  • Intervention, CGP London – Dilston Grove, 09 Dec 2017 more
  • A sense of being ‘listened to’, University of Sussex, 15 Sep 2017 more
  • Temporal and fluid agency in improvised music, Sonic Arts Research Centre, Belfast, 01 Aug 2017 more

Grants

  • Shared Post-Human Imagination Human-Ai Collaboration in Media Creation (Arts and Humanities Research Council, 01 Feb 2024). In Progress
  • Improving educational outcomes for SEN students through technological innovation) (HEIF, 01 Aug 2017). Completed
  • Increasing access to Music: Music Technology in Special Educational Needs (SEN) settings. (HIEF5+1+1, 01 Aug 2016). Completed

External Responsibilities

  • UKRI ARHC, Member of Peer Review College (2022-)
  • London College of Communication UAL, External Examiner MA Sound Arts (2020-2025)
  • Middlesbrough College (UCU), External Examiner (2018-2021)

Journal Reviewing/Refereeing

  • AHRC Peer Review College, Anonymous peer review, 01 May 2022
  • Journal of New Music Research, Anonymous peer review, 29 Jul 2020
  • Leonardo, Anonymous peer review, 01 Sep 2014

Public Engagement & Outreach Activities

  • The co-creation of unit assessments based on the principles of ‘backward design (10 Jun 2017)

Conference Presentations

  • +RAIN Film Festival 2025, Human & Generative AI Collaboration in ​Media Creation, 10 Jun 2025, Pompeu Fabra University, Barcelona.
  • +RAIN Film Festival 2025, WORKFLOWS​: Human & Generative AI Colloboration in ​Media Creation., 10 Jun 2025, Pompeu Fabra University, Barcelona
  • Technology in Music Performance, The Feral Cello: A collaborative cello and electronics practice., 03 Dec 2019, Birmingham Conservatoire

Qualifications

  • PGCert in Education Practice (Bournemouth University, 2015)
  • PhD in Sonic Art (Queen's University Belfast, 2008)
  • MA in Communication Media: Creative Sound Production (University of the West of England, 2004)
  • BSc (Hons) in Physics with Music (University of Edinburgh, 2001)
The data on this page was last updated at 05:00 on February 17, 2026.