Philip Miller first practiced in the field of intellectual property and labour law, before making the leap into the world of music composition. A large part of his music practice develops out of collaborative multimedia projects, mainly in theatre and film. His first collaboration was with the artist, William Kentridge, in 1994, composing music for the film, Felix in Exile. Since then, he and Kentridge have worked together on such projects as Nine Drawings for Projection, Sounds from the Black Box and Refuse the Hour. During 2012, he toured with Refuse the Hour to Dokumenta13 in Kassel, Germany, as well as to the Avignon Festival in France. His interest in working with archive as an instrumental part of the compositional process was sparked by his participation in the group exhibition, Holdings, curated by Professor Jane Taylor, as part of the broader Refiguring the Archive project, conceived by Professor Carolyn Hamilton in 1998. This work led him to conceive and compose the multimedia choral work, Rewind: A Cantata for voice, tape and testimony, in collaboration with the visual artist, Gerard Marx, using fragments of the recorded testimonies from the Truth and Reconciliation Commission in South Africa.