Graeme Truslove

Dr Graeme Truslove is a composer and performer based in Glasgow, Scotland. His creative practice includes sonic and audio-visual composition, improvised music, and collaborative work across art, technology, and performance. His work explores the tension between intuitive performance and fixed-medium composition, often incorporating microtemporal and immersive sound techniques.

He holds an M.Eng in Electronics with Music and a Ph.D. in Music Composition (practice-based) from the University of Glasgow. He currently lectures in Composition and Music Technology at the University of the West of Scotland.

Creative Practice and Research Interests

Truslove's research is practice-based and performance-driven, situated at the intersection of live electronics, electroacoustic composition, audiovisual installation, and improvisation. His work often engages with spatial audio systems (such as ambisonics and wave-field synthesis), time-based media, and the perceptual limits of sound-image relationships.

He regularly collaborates with filmmakers, visual artists, musicians, and technologists to create hybrid works that examine new modes of listening, interaction, and immersion. In solo and ensemble contexts, he performs using guitar and/or laptop, often integrating improvisation as a compositional strategy. His background in jazz and improvised music continues to inform his creative and pedagogical approach.

Recent research includes an exploration of generative and AI-assisted spatial audio, as well as interdisciplinary collaborations involving data sonification and immersive visualisation.

Performances and Exhibitions

Truslove’s work has been presented internationally at festivals, conferences, and venues including:

UK & Europe: L’ESPACE DU SON (Brussels), Sonica Festival (Glasgow), Sonorities (Belfast), Sonic Fusion (Salford), Seeing Sound Symposium (Bath), Sound Festival (Aberdeen), Noise Floor Festival (Staffordshire), Soundproof (Edinburgh), Generative Art Conference (Milan, Rome), Talbot Rice Gallery (Edinburgh), GAMeC – Galleria d’Arte Moderna e Contemporanea (Bergamo), and FILE Festival (São Paulo).

North & South America: San Francisco Museum of Modern Art (OPEN SPACE), Toronto International Electroacoustic Symposium, Electronic Literature Organisation Media Art Show (West Virginia), ICMC (Stony Brook, Montreal), Music Under the Influence of Computers (UC San Diego), Electronic Music Midwest (USA), and Concierto Noche Blanca (Chile).

Asia & Australia: International Conference on Computer Graphics (Taiwan), International Conference on Information Visualisation (France), StillReel Digital Art Gallery (Australia).

Broadcasts and Media Coverage

His music has been broadcast on BBC Radio 3’s Late Junction, Radio Panik (Belgium), RNE3 Atmósfera (Spain), O Dominío dos Deuses (Portugal), Eldoradio Klangwelden (Germany), Sound Art Radio (UK), and Electronic Therapy (France).

His critically acclaimed album Intuited Architectures (released on Crónica Electrónica) has been reviewed in Neural Magazine, The Sound Projector, Vital Weekly, Chain D.L.K., Blow Up Magazine, and others.

Awards and Recognition

Truslove has received numerous awards and commissions, including:

- 1st Prize – Metamorphoses (Belgium)
- The Salford Sonic Research Commission (UK)
- Creative Scotland: International and Professional Development Awards
- British Council Composer Bursary
- PRSF (UK), The Dewar Arts Award (Scotland), SGAE and The Phonos Foundation (Spain)
- The Lumen Prize (UK), The International Computer Music Association (USA)

His work Lux was shortlisted for The Lumen Prize in Digital Art.

Supervision and Collaboration

Graeme Truslove is available to supervise practice-based PhD research in areas including electroacoustic music, audiovisual composition, live electronics, sound design, and immersive technologies. He also welcomes collaborative proposals from artists, curators, developers, and researchers working in spatial sound, interactive systems, and interdisciplinary forms of media practice.

I specialise in the composition, performance, and analysis of:

• Electroacoustic Music and Sonic Art, with a focus on fixed-medium acousmatic works.

• Live Electronics, including interface design and performance systems driven by improvisation.

• Improvised Music and Jazz, both as performance practices and as influences on real-time compositional systems.

• Audiovisual Art and Visual Music, developed in collaboration with visual artists and filmmakers.

• Sound Design for theatre, interactive media, and film.

• Sonic Art Installations, including site-specific and gallery-based works that explore sound, space, and visual perception.

My work investigates the intersections of technology, improvisation, and perception, engaging with spatial, microtemporal, and multisensory dimensions of sound and performance.

My research is grounded in a practice-based investigation of sound, image, and space—particularly where real-time, improvisatory performance intersects with fixed and immersive media forms. I am especially interested in how emerging technologies can expand the expressive, perceptual, and spatial dimensions of audiovisual composition and performance.

Improvisation, particularly as developed through my background in jazz and live electronics, remains a central strategy in my work. It informs both my solo practice and my approach to collaborative composition, especially in contexts where structure emerges through interaction with technology or other performers.

Current areas of focus include immersive spatial audio systems such as higher-order ambisonics, wave-field synthesis, vector-based amplitude panning, and timbre-spatialisation. These systems support my continuing interest in microtemporality and spatial perception—particularly in relation to the tensions between intuition, control, and fixed-medium constraints.

I am also exploring the creative implications of recent developments in machine learning and generative systems. Tools capable of synthesising spatial audio from video or text, for example, open new pathways for sonic response to image, and invite reflection on how authorship and interpretation might shift within computational environments.

My visual work is primarily realised through collaboration with visual artists, filmmakers, and technologists. This includes projects involving projection mapping, multi-screen formats, and extended reality platforms—contexts that allow for immersive, perceptually rich environments.

Finally, I am interested in interdisciplinary partnerships across fields such as data sonification and visualisation. These collaborations offer opportunities to translate complex datasets into meaningful aesthetic forms, supporting both public engagement and new modes of creative insight.

My creative practice frequently involves collaboration across disciplines, media, and contexts. I welcome opportunities to work with individuals, organisations, and companies interested in exploring new ways of engaging with sound and image.

Areas of potential knowledge exchange include:

• Sound and music for film, audiovisual art, and new media

• Interactive audio and audiovisual interface design

• Live electronics, in collaboration with solo musicians, ensembles, and theatre-makers

• Audio and audiovisual installations for galleries, museums, public space, and site-specific contexts

Much of my work is concerned with the perceptual limits of auditory and visual experience. As such, I am particularly interested in working with technology developers and manufacturers to test and showcase the spatial, spectral, and temporal capabilities of emerging audio and audiovisual systems.

I approach collaboration as a way of extending the creative process—bridging intuitive, improvisatory methods with structured systems and new tools. I am open to conversations with researchers, curators, developers, and cultural organisations looking to explore the expressive potential of sound in immersive, interdisciplinary, or unconventional settings.