Joby Burgess and Gabriel Prokofiev invited me to write a remix for their import-export project.  The disc was released in 2010.

You can get hold of the album and my chatter remix here;

nonclassical.greedbag.com/buy/import-export-g-prokofiev-suite-0/

here

itunes.apple.com/gb/album/import-export-g.-prokofiev/id389448883

or here

www.amazon.com/Export-Martin-Parker-Chatter-Remix/dp/B003JOE7R6

Zuppa Inglese, the Italian for custard or trifle, is the third release by Lapslap on Leo Records. As before, it is a varied concoction of ten improvisations combining acoustic and computer-based instruments. However, the usual line-up of brass, sax, keys, and computers has been augmented by the long-time collaborator Mark Summers who is heard on viola da gamba.

Chiaroscuro / Pentimenti is the culmination of a collaboration between poet JL Williams, composer Martin Parker and artist Anna Chapman.

The two painters’ terms came to our attention in 2006 as intriguing starting points for the making of work that crossed the boundaries of each of our artforms. Chiaroscuro (Italian, ‘light-dark’) is an artist’s technique for synthesising form through casting shadow, while pentimenti (Italian, ‘repentances’) are traces of the artist’s earlier decisions or outlines, revealed as layers of paint become translucent over time.  We took these ideas as departure points for excursions through text, image and sound.

On the disc, published by Fogbank Projects in 2009 and available from me as a limited edition, all sounds you hear were generated from recordings of JL Williams reading her poems.  In ‘Chiaroscuro’ [Track 01], the music is synthesised by literally beaming simple sound sources like white noise and sine tones through the spectra of the voice. this technique was devised in response to the beams of light described in the poem, ‘You, chiaroscuro’.

‘Pentimenti’ [Track 02] was constructed by playing back Williams’ readings of her poem ‘Pentimento’ in many different locations and layering hundereds of recordings on top of one another.The result is a piece composed of the parts of the spectrum usually removed when cleaning up location recordings. As the piece progresses, the noise becomes too much for the sound processors and they begin to clip and beat rhythmically. Through this litter of broken audio, a chorus of voices seems to appear but is just the debris of filters and compressors. A mistake made in the reading during one of the recording sessions has been kept in as a deliberate reference to the technique of painting over (repenting).

The drawings you see here and on the limited edition release were made in response to the content of Williams’ poems, together with some of the processing characteristics of the music described above. Specific references to things, places and events that occur in the poems, including a view from a shop, a fresco in Padua and experiences of light were taken from the text, but their visual source is something relayed through other media rather than seen directly. Here chiaroscuro may be a more private drama of black-and-white dots composing an image for halftone printing; pentimenti the uncertain edges of objects affected by image compression.

The development of the project was supported by the Scottish Arts Council, now known as Creative Scotland.

This is a handy interface to the pattrstorage preset system. Use in a bPatcher in the top level patch or as an abstraction. You need to use mp.assignment to assign keys or other controllers to cue up and select presets. You can interpolate between selected presets using the interface on the top right of the patch. mp.assignment is included in the zip.presetManager

To do;
Create a more sophisticated interpolation and automation through presets.

download > mptimelapse_rev3d-build

August 2006
Mac OSX Version 1.d
This system was developed for the AHRC research project Inflecting Space.
As part of our data gathering we have been devising a sound installation/voice experiment called Vocal Ikebana.
This tool was developed to make documenting the experiment quick and efficient, however, it has been designed such that it can be used for most timelapse or stop_frame video projects.

Instructions

1. Choose dimensions of video to record
2. Initialise the camera
3. Decide if you want to add date stamp to the video.
4. Setup grab schedule or choose a key on your keyboard to grab a frame when you like
5. Setup output format. Video formats range from web optimised to full quality DV.
6. Click write to choose a place to write the file.

Features

• Audio cuing during automated grabbing
• Time and Date stamping directly to the video optional
• Grab a frame every 1- 59 seconds
• Stop after any number of frames
• Calculates how long the video will be at your chosen frame rate
• Most output video codecs supported
• Grab frames using asci keyboard.

Credits

Created in the Max MSP Jitter Programming environment, thanks to www.Cycling74.com

License

This software is free to download and use. The author takes no responsibility for what this software does to your computer.

This is a simple but useful abstraction that helps you to time events in an installation or other context. The example included with this abstraction shows how to control the master amplitude of an installation.  The abstraction listens for events, waits a certain amount of time without events, if that time has passed, the installation amplitude fades out.

Download it > installationtimer

“Scratch” is the companion album to lapslap’s debut CD “Itch” released in 2008 to a high critical acclaim. Michael Edwards (tenor sax, computer, midi wind controller), Martin Parker (french horn, computer), Karin Schistek (piano) freely combine computer solos with instrumental trios and any combination in between. The music draws from traditions ranging from avant-garde classical, free improv/free jazz through to improvised electroacoustic/glitch.

www.leorecords.com/?m=select&id=CD_LR_531

Ein Klang records kindly invited me to remix some of their catalogue to celebrate 10 years of the label’s releases. The title should be fairly self explanatory, I did irreversible damage to three tracks from disc 2 of the 7th forum release. Apologies to those involved in tracks 1, 6 and 12.

www.einklangrecords.com/remix/remix.htm

Download > mp.assignment

mp.assignment is a fiddly little bpatcher that allows you to connect any input device and assign it to whatever you like. Behaves in a similar way to midi learn functions in software like Ableton or Logic. Because it is tied into the pattrstorage system, the assignment can change dynamically. This means a parameter in max can be controlled by any input device and this can change during performance or if you have different input devices available on different occasions, or if you decide you don’t like the mapping you originally designed, you don’t need to edit the patch just make a new preset for it.

lock your patch, click on the mp.assignment bpatcher, it will go red. Move a fader, joystick or keyboard and the input device has been assigned.

Requires tinpark_alphabet.txt to work. This is included inside the .zip file above.

Parker, Martin 2008. “Water does not run uphill unless it is pushed. Maxims for thinking about sound in the context of architecture, installation art and technology, a response to ‘Athens by sound’.” Venice architecture Biennale, 2008, Greek Pavilion catalogue. Publication details to follow in October 2008.

http://www.leorecords.com/?th=1&m=select&id=CD_LR_516

All tracks on this release were performed live in a single take and recorded during a three-day session at the Reid Concert Hall in Edinburgh, September 7th to 9th 2007. The special acoustic of the hall is featured on several tracks, often with each instrument in its own space (recording purists beware). The recordings were made in surround and mixed into stereo by Michael Edwards and Martin Parker. Surround versions of the recordings will hopefully be made available via Leo’s website (watch this space).

• Coyne, Richard, and Martin Parker. 2007. Voice and space: The agency of the acousmêtre in spatial design. In P. Turner, S. Turner, and E. Davenport (eds.), Exploration of Space, Technology and Spatiality: Interdisciplinary Perspectives, to appear: Idea Press. First appeared as Coyne, Richard, and Martin Parker. 2004. Voices Off: The Spatial Implications of Voice in Ubiquitous Digital Media. Proc. Space, Spatiality, Technology Conference 12 – 24 Dec 2004: 34-38. Edinburgh: Napier University. [MO]

• Raffaseder, Hannes and Martin Parker 2008, ‘Interrelation – Sound Transformation and remixing in real-time’.  In Transdisciplinary Digital Art, Sound, Vision and the New Screen, Volume 7. 1865-0929 (Print) 1865-0937 (Online).

• Parker, Martin. “Joys of travel: introducing the Spectral Tourist.” LEA Special Issue: My Favorite Supplement: The Joy of the Gizmo, Leonardo Electronic Almanac Vol. 15, No. 11-12 (2007). 31 Dec. 2007

leoalmanac.org/journal/Vol_15/lea_v15_n11_12/MParker.html

• Coyne, Richard, Raymond Lucas, Jia Li, Martin Parker, and John Lee. 2007. Co-operation and complicity: Voices, robots, and tricksters in the digital marketplace. International Journal of Architectural Computing (IJAC), (5) 1, 161-175.

• Coyne, Richard, John Lee, and Martin Parker. 2005. Permeable portals: designing congenial web sites for the e-society. Tangentium, (2) 1, www.personal.leeds.ac.uk/~polaw/tangentium/jan05/index.html. [MO]

• Coyne, Richard, Pedro Rebelo, and Martin Parker. 2004. Resisting the seamless interface. International Journal of Architectural Computing (IJAC), (4) 2, 430-442.

• Coyne, Richard, and Martin Parker. 2006. Voices out of place: Voice, non-place and ubiquitous digital communications. Mobile Understanding: The Epistemology of Ubiquitous Communication: 171-182. Vienna: Passagen Verlag. First appeared as Coyne, Richard, and Martin Parker. 2005. Sounding Off: The Place of Voice in Ubiquitous Digital Media. Proc. Seeing, Understanding, Learning in the Mobile Age, Budapest, April 28–30: 129-134.

• Coyne, Richard, Raymond Lucas, Jia Li, Martin Parker, and John Lee. 2007. Co-operation and complicity: Voices, robots, and tricksters in the digital marketplace. International Journal of Architectural Computing (IJAC), (to appear) Also appeared as Coyne, Richard, Raymond Lucas, Jia Li, Martin Parker, and John Lee. 2006. The augmented marketplace: Voices, robots and tricksters. In V. Bourdaksi, and D. Charitos (eds.), Keynote Speakers: Proc. Communicating Space(s): ii-ix. Volos: University of Thessaly, Greece.

• Coyne, R. and M. Parker, ‘Voices Off: The Spatial Implications of Voice in Ubiquitous Digital Media’, Proc. Space, Spatiality, Technology Conference 12 – 24 Dec 2004, Edinburgh: Napier University, 2004, 34-38.

• Coyne, R. and M. Parker, ‘Sounding Off: The Place of Voice in Ubiquitous Digital Media’, Proc. Seeing, Understanding, Learning in the Mobile Age, Budapest.