Tinpark complete podcast directory

Filament - Example 03

Martin Parker — Mon, 10 Jul 2006 15:56:41 +0200

Endless Song, Martin Parker

Martin Parker — Tue, 17 Jul 2007 00:55:19 +0200

Below are instructions from the ZAM team in Cologne who asked all the participants in the festival to create an electronic response to a 60 second selection of sound from the ZAM festival (Part of the Köln Triennial 2007) If you wish to download this file and process it into some other 60 second racket, then please do so. Email the mp3 back to the email addresses below and send the file onto someone else. A full resolution version of this sound file is available for download here; http://sd.caad.ed.ac.uk/tinpark/media/sound/EndlessSong_MartinParker.aif This file was created using some of my improvisation software and is a single take from the output of this. I then normalized it and rebalanced the left and right channels but have done nothing else to the output. /// "You should do sth with it (processing, additional recordings, WHATEVER ...) The sample should be kept to the duration of 60 seconds. The changed material should be sent to info@z-a-m.eu and to another musician of your choice. (we archive at our site the whole thing to built up a structure getting bigger and bigger and more complex over a period of time after several generations worked on the sample - therefor we need the information of the global position of each musician who worked on the sample) You are the first generation of the game. Each generation has to follow the same two rules. 1. you should do "sth" with the sample 2. you should send it to: info@satelita.de (within the email, we need your name and your global position = city where you live) 3. you should send your final outcome to another musician"

Filament - Example 03

Martin Parker — Fri, 16 Jun 2006 13:20:16 +0200

A recording of the copperwire curtain in action in the Platzl square. The sounds are generated by interaction of wind and people with the curtain and from a remote controled robot at the Dinkhouser Paper factory in Hall.

The Girl Counts

The Brewhouse Band — Sat, 21 Jul 2007 12:55:09 +0200

Sound Design for Helter Skelter, Track 1, the girl counts. This sound introduces the show. A young girl is left alone by her father and counts to 100.

Filament_Example01

Martin Parker — Fri, 16 Jun 2006 11:13:09 +0200

Tribbute to Sue

Sue Tompkins — Wed, 01 Aug 2007 14:10:00 +0200

Tribute to Sue Tompkins' relentless and spontaneous poetry.

Filament Example 02

Martin Parker — Fri, 16 Jun 2006 11:20:09 +0200

Spectral Tourist

Martin Parker — Thu, 18 May 2006 00:26:38 +0200

Environment for StoneViolin

Martin Parker — Wed, 17 May 2006 23:36:53 +0200

[img_assist|nid=135|title=Stone Violin|desc= Photo by Christian Unterhuber|link=popup|align=right|width=68|height=100]The sculptures of Kassian Erhard spend most of the year in the Austrian Alps in a small village called Pillar near to the Italian border. On the mountainside Erhard creates stone 'instruments' including interpretations of trombones, saxophones, percussion and strings all carved from the indigenous rock. During the late summer of 2002, I was fortunate to spend three weeks living with the sculptor and his family and had the opportunity to write some music for his instruments. Of all the sculptures in his garden, the one that attracted my ears and eyes the most was his stone violin. Not only is the body of the instrument made of stone, so are the strings and bow. The instrument's sonic properties depend entirely upon the type of stone used to make bow and string. A gentle scrape of stone against stone reveals tones that are essentially inharmonic, scratchy and very rich in potential for analysis within the computer. The computer software is a reactive environment, which listens to the incoming sound and generates sympathetic resonances. If you feed it noise, you get purity. This piece was revised for Viol in 2003 and continues to reinvent itself based on input and the liveliness of the space in which it is played.

Shonky Music (Henry Willis Edi

Martin Parker — Wed, 17 May 2006 13:30:33 +0200

Shonky Music performed by Simon Nieminsky on the Henry Willis organ, St Mary's music school, Edinburgh

chiaroscuro_test_opening

tinpark — Wed, 17 May 2006 01:40:34 +0200

[img_assist|nid=145|align=right|width=100|height=71] Chiaroscuro Pentimenti is a collaboration between poet Jennifer Williams, composer Martin Parker and visual artist Anna Chapman applying the visual art concepts of chiaroscuro and pentimenti to computer-mediated performance of new music and poetry. Chiaroscuro is a method of synthesising light through casting shadow while pentimenti is about layering, where imagery is revealed beneath imagery. These terms are alive with sonic potential and we are exploring Jennifer's poetry and its re-telling through real-time sound processing methods devised from our research and generated by the voice of the poet in live performance. "Chiaroscuro: The technique of using light and shade in pictorial representation". (http://www.dictionary.com) "A word borrowed from Italian referring to the modelling of volume by depicting light and shade by contrasting them boldly." (http://www.artlex.com) "Pentimenti: An underlying image in a painting, as an earlier painting, part of a painting, or original draft, that shows through, usually when the top layer of paint has become transparent with age." (http://www.dictionary.com) "These images which were supposed to be hidden often appear like ghosts -- not entirely solid. Many result from a painter's decision that a nearly finished picture needs to be altered, but the new passage is made with too thin a layer of paint. Pentimento is Italian for 'repentance.' (http://www.artlex.com) [img_assist|nid=146|title=Prntimento_hand|desc=|link=popup|align=right|width=100|height=75] Project development website - http://sd.caad.ed.ac.uk/cp

23-11-06-Take01-Section1

mkm — Fri, 24 Nov 2006 13:57:20 +0100

Free improv trio MKM improvising on 23-11-2006. Karin Schistek - Piano, inside and out Michael Edwards - midi sax, computer, fader box Martin Parker - Horn, faderbox and computer. Recorded with an ambiently positioned pair of in-ear mics and an M-Audio microtrack. Section 1 of a three part improv.

Tribute to Anton.aif

Tinpark — Fri, 24 Nov 2006 18:08:31 +0100

AS short tribute to Anton.aif using the Webern extract hosted in the MaxMSP directory and triggered using a Roland SPD-6 drum-pad. http://www.cycling74.com

can't play keyboards

tinpark — Thu, 14 Dec 2006 13:52:19 +0100

Can't play keyboards is an illustration of just that. Listen out for the crappy keyboard playing.

Martin Parker: Filament Live at Cubed

Martin Parker — Thu, 03 May 2007 13:43:26 +0200

Live performance at Traverse Cubed, October 2006. Recorded, maximised and mastered by Yann Seznec and Dimitris Miyakis. A slightly higher quality mp3 version of this track resides here; http://www.seventhings.co.uk/UserFiles/File/Martin_Parker_Filament.mp3 More information about the 7hings event here; http://www.seventhings.co.uk/en/news.php?id=41

formlessness

tinpark — Thu, 23 Nov 2006 13:54:09 +0100

Formlessness is a rather formess improvisation created with the sequencing software I made in MaxMSP. The sound sources are very short taken from my student's sound libraries. The are mostly unrecognisable but the sources were recorded and edited by Sean Williams, Dave Meckin and John Lemke. The sources are freely downloadable from here; http://blue.caad.ed.ac.uk/infrared. This is the University of Edinburgh's online sound library. This is a single take as are all the improvisations. Normaised to -3dB before creating the mp3. Critical notes; too long again.

Environment for Stone Violin - Live

MARTIN PARKER, MARK SUMMERS — Tue, 08 May 2007 14:14:07 +0200

Live performance of Environment software system with Mark Summers on viola da gamba. Part of live concert performed at the Reid Concert Hall, Edinburgh on the 13th Feb 2007. Recorded by Sean Williams and Yann-Loic Seznec.

Sloe_going

tinpark — Thu, 23 Nov 2006 13:48:59 +0100

Sloe-going was left on for a few minutes while I left the room for a comfort break. I came back after three minutes and got started. The sound sources are very short taken from my student's sound libraries. The are mostly unrecognisable, they came from Sean Williams, Dave Meckin and John Lemke. The sources are freely downloadable from here; http://blue.caad.ed.ac.uk/infrared. This is the University of Edinburgh's online sound library. Critical notes; Again, similar problems with the looping nature of the sequencer. With a solo instrument on top, this might be useful as an improv tool in performance. It is too long.

Improvisation

MARTIN PARKER, MARK SUMMERS — Tue, 08 May 2007 14:20:48 +0200

An improvisation with Mark Summers (viola da gamba) and a hastily put together peice of software that is playyed by a Roland Drum Pad SPD-6. With a foot switch, the live instrument can sample himself at will. Part of the Reid Memorial Concert, 13th Feb 2007. Recorded by Sean Williams and Yann-Loic Seznec

Grooves_01

tinpark — Thu, 23 Nov 2006 12:17:48 +0100

A repetitious and noisy improv on computer using a three-part version of my sample accurate sequencer. This improvisation is unedited. The performance was created in real-time using some sounds from the MaxMSP distribution. Maxers will notice anton.aif and drumloop.aif in particular. The file was normalised to -3dB before creating the mp3. Crtitical notes; The improvisation is too long. When creating the file, it did not feel like this. When captured and stored as a fixed entity however, looping sounds become very rigid, like obstacles that need to be broken down, worn away at. In performance, the feeling of repetition can be more diffuse but it would be better to be more aware of the sound as it happens and less concentrated on running the system. It is satisfying when the repetition is halted or occasionally broken but even this affect would be more pronounced and effective if the second half of the improvisation was half as long. The ending is very deliberate and shows more control of the instrument than might be felt while listening.

March and Remix

Philip Sawyer, Matthew Studder-Kennedy, Mark Summers, Martin Parker — Tue, 08 May 2007 14:24:17 +0200

March and Remix This is a performance of a March by General Reid with Philip Sawyer on keyboard and Matthew Studdert Kennedy on flute and Mark Summers on viol. As the music is played, the computer performer samples the sounds which are subsequently remixed into a form of sorts. Perfomed live at th Reid Memorial Concert, 13th Feb 2007 Recorded by Sean Williams and Yann-Loic Seznec

12stars_Chord

Tinpark — Tue, 21 Nov 2006 11:46:34 +0100

Filament, Traverse Theatre, October-November 2006. This is a sound example of a solid chord, generated from micro-particles of voices from four actors. This is the 'state' the installation was left in at one point. The end of the section shows what sound was like after the first interaction for some time.

Episode 01

Martin Parker — Tue, 22 May 2007 19:00:17 +0200

Episode 1, performed with Flugel Horn and Computer using the Envrionment System

12stars_gestures

tinpark — Tue, 21 Nov 2006 11:30:45 +0100

Filament, Traverse Theatre, October - November 2006. Sounds of gestures from the installation playing sounds collected from the Theatre Company 12 Stars.

ZAM_Episode 02

Martin Parker — Tue, 22 May 2007 19:03:50 +0200

Episode 2 uses the Spectral Tourist to remix some of Lawrence Casserley's music.

12stars_loop

Tinpark — Tue, 21 Nov 2006 11:23:14 +0100

Filament, Traverse Theatre, October - November 2006. Recording of the copperwire curtain in action with sounds from theatre company 12 Stars

ZAM_Episode 03

Martin Parker — Tue, 22 May 2007 19:05:14 +0200

Episode 03 also uses the Spectral Tourist

Autoroute

Martin Parker — Sat, 05 Aug 2006 01:06:54 +0200

Auto-route begins with a source, what follows is an automated response to this data that continues to eat itself until we turn the machine off, the computer crashes or the feedback loops inside the system result in silence or white noise. Auto-route is an attempt to hear what the computer thinks. The piece runs on the machine’s own terms, makes its own decisions based on criteria that it invents as time passes. Like most improvisations, there is a moment when the input is considered and contemplated but shortly after this period, the machine begins to explore material dynamically, chewing on its own matter, quickly becoming self-referential and eventually running out of energy or coruscating into maximal debris. Auto Route has been performed in several versions. A version was made for Video Artist Rob Kennedy and performed at Machinista in Glasgow in 2004. Two other versions have been made and performed without the composer present. Once in Belfast as part of the Sonorities festival on a tourist boat trip, the other was performed in Newcastle by Mark Summers (Viol) and the Pallindrome dance company. The recording presented here was generated from some glitch provided by Mark Summers (Viol).

ZAM_Episode 06

Martin Parker — Tue, 22 May 2007 22:40:59 +0200

This is a distorted version of sample manipulation of samples gathered live from my Flugelhorn.

Trojan Women - Nothingness

Martin Parker — Mon, 10 Jul 2006 19:31:51 +0200

This is the music used to describe nothingness and a feeling of dispair, lament and justifiable self pity. These feelings are expressed by Hecuba as she learns of the Greek's intentions towards Andromache's son.

ZAM_Episode 07

Martin Parker — Tue, 22 May 2007 22:42:36 +0200

Again, more sample manipulation of the Flugelhorn.

Helen's Theme

Martin Parker — Mon, 10 Jul 2006 19:21:36 +0200

Helen's theme. This sound was designed to introduce Helen. It represents her function as a twisted but beautiful figure. In the play she is portrayed as a wicked bitch and someone who carries mythically sexual powers over men, useing them not only to her advantage but to deliberately disenfranchise, abuse and weaken other women.

ZAM_Episode 05

Martin Parker — Tue, 22 May 2007 22:37:04 +0200

Performed with live grabs from Lawrence Casserley and using a Roland SPD-6 drum pad and a lot of sample/time-based processing. Sounds like okd-school Cologne electronica.

Trojan Women introduction

Martin Parker — Mon, 10 Jul 2006 19:15:35 +0200

This is the audio introduction to Trojan Women. There is an ambient soundscape which errupts into a transcription of a speech by Lt. Tim Collins on the eve of the Iraq War. The first scene is also entirely sonic and is represented by the sound of the gods, Poseidon and Pallas Athena. The end of the track is an example of sounds that sit beneath the text as it is acted. [img_assist|nid=154|title=|desc=Kate Dickie as Andromache Itxaso Moreno as Cassandra|link=none|align=left|width=640|height=95]

ZAM_Episode 08

Martin Parker — Tue, 22 May 2007 22:44:44 +0200

A final argumentative blast of sample manipulation.