'Twitter Chorus' was developed out of Challenger's work 'Monoculture' during the Edinburgh Art Festival showing in 2014. As a conjoined work 'Twitter Chorus' questions the control wielded by a supposedly 'free' environment such as the internet.

Many people confess they wouldn't speak what they choose to write in a public space on Twitter. This work enables the listener to hear tweets in real time clearly and in the real world.

The spoken work aimed to explore the triumphs and pitfalls of sending short form text out into a public arena. It looked at the idea of en masse opinion and immediate counter-opinion without authority. Making vocal and solidifying the sentiments expressed in an amorphous space online. Challenger once again plays with bringing the virtual back to the physical world by dissecting and scrutinizing the repetition of online quickfire expression. The choral performance explores whether the mono-image discussed in Challenger’s exhibition is mirrored by a mono-statement on Twitter and other text-based social media. 

Multiple voices vocalise historical and real time tweets collected by the artist as a cross section of the Twitterverse. Most-followed feeds, segments of dialogue, trending topics, hashtags, trolling, mass twitter campaigns, dead-before-their-time celebrities such as 'RIP Morgan Freeman' or 'RIP Justin Bieber', most retweeted, the over-usage of acronyms such as RIP and the most mundane and everyday “i've just eaten breakfast” tweets are all included. The spoken word is orchestrated to create a wall of sound from the virtual world.

It’s vital that the project stays current each time it’s performed and often tweet scripts are generated by Challenger just a few days pre performance. 'Twitter Chorus' constantly evolves to keep up with the contemporary commentary it has sprung from. Choruses to date have included the trolling of MP Stella Creasy, a je suis refrain, @POTUS's first tweet, #porn and an @katieperry personification.

In May of 2015, Tamsyn was invited to create a new orchestration of the work in collaboration with anarchic performance group Gaggle for the Web We Want Festival. This collaboration proved to be a successful revising of the work with Deborah Coughlin bringing a new musicality to the version. The event at the Southbank Centre has led to the work being performed at the New Hall Art Collection, Murray Edwards College, Cambridge, Brighton Digital Festival with Diep-Haven Fest at Fabrica.

In March 2016 the Southbank Centre commissioned a new large scale version of the work from with hundreds of voices from multiple choirs involved.