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Limits to Growth, a sound infestation by Owen Green and Martin Parker from Martin Parker on Vimeo.
For the 2015 Conference on World Affairs, journeyMan has been configured to take selected searches from 50 years worth of recordings from the CWA archive (curated by Ramsay Thurber and Martin Parker) which will stop, start and be interrupted as you walk around the campus (or anywhere else). This piece takes a considerable amount of time to load, so please wait at least 1 minute before expecting to hear anything. Put your headphones on and when you hear sound, adjust the volume of your player to something that’s comfortable in your listening environment. The best way to experience this piece is to set yourself off on a journey that doesn’t have to get you somewhere. Musically I have tried to reflect the business and noise of the opinions and conceptual festival that the Conference on World Affairs is. A final note is that this is an experimental project, it’s not a perfect app and I hope you enjoy it as such.
Released on 5th November 2013 on sumtone’s bandcamp label, this disc features 8 wonderful instrumentalists performing with gruntCount.
Michael Edwards mastered this room recording of Lapslap’s concert in Bologna (7th May, 2013).
I’m playing an electronics-only improv setup with multitouch graphics tablet, mics, a faderfox and a footpedal. I have performed this on several occasions, firstly in Edinburgh in November 2011 at the Soundings Festival, again in Prague in December 2011 (AXA in action), then more recently at Keele University on the 31st October 2012 and again in Dundee at Generator Projects on the 12th November as part of Catherine Street’s Continuum project. Below is a recording I made of the Dundee performance with an excruciating amount of reverberation added in post. Artist Catherine Street invited Owen Geen and I to perform in Dundee on Saturday 10th November 2012, see details below. Saturday 10th November, Doors 7pm, screening and performance starts 7.30pm (lasts approx 1 hour).
This site-specific event will be an immersive experience featuring a new film by artist Catherine Street. Martin is programme director of the MSc Sound Design at the University of Edinburgh, artistic director of Dialogues Music Festival and a member of improvisation ensembles Lapslap and Edimpro. In June 2012, I had the great pleasure of working with Nick Fells rehearsing and developing a performance we would give in Munich in November 2012 as part of the Surrounded Festival. During this period of development time, we attempted the combination of some of our existing instruments, feeding the sound from one of my toys directly into one of Nick’s and then back again. Evan Parker’s self organising systems, live at the Dialogues Festival, Wee Red Bar, Edinburgh, June 2012 from Martin Parker on Vimeo. The CD is composed from several long improvisations which, contrary to our prior recording practice, were never intended to be complete pieces by themselves. Granita was recorded by Michael and Martin in the Reid Concert Hall, Edinburgh, in September 2010. Week of the 26th January I had the great pleasure of working with three very fine dancers; Tony Mills, Hannah Seignior and Felicity Beveridge. Pete is an extremely willing improviser so it was very easy to stretch the system and get some new, filthy settings for our concert in the Reid Concert Hall on the 13th March 2012. The computer processing in GruntCount is fairly gritty (one of the reasons for its title) and this seems to work very well with the rich colours Pete can produce. The concert is a University lunchtime event, starting at 1:10pm in the Reid Concert Hall, the gig is free. Please note, these are rough mixes from a draft session, certainly not the finished piece as you’ll hear it in concert.
This video that documents how the installation worked and was setup was made by Matthew Collings. A composer, improviser and soloist with laptop, my sound-centric work focuses on the encounter between computers, people and places.
I studied composition at the University of Manchester and completed a Ph.D in Composition at the University of Edinburgh in 2003.
Man High is a collaborative piece written with composer Stephen Deazley and visual artist Andy McGregor.
Anne tells me she’ll perform gruntCount in Amsterdam on the 6th July.  Good luck Anne! I’ve just spent three days in the company of the absolutely spectacular flautist Anne La Berge. Anne was fantastic to work with and totally got the idea of the piece (that requires the player to literally push their way through a map of complex sound processing presets). We premiered the piece in Alison House at a lovely concert with edimpro on Tuesday 14th June. Whilst GruntCount is described as an improvisation, it is also to some extent a repeatable and rehears-able piece of music. The computer responds to the player by being pushed through a map of interleaved presets with each sound (or grunt) the player makes, no sophisticated score following algorithms are used. The flute version was developed in June 2011 with the extraordinary improvising flautist Anne La Berge. Credited with powers of healing the sick, St Fillan is alleged to have lived in this cave in the 8th century. In the 18th century, the town’s drunks were (also allegedly) deposited here and cured of their addiction by being tied up over night and forced to go cold turkey.


As the only ‘indoor’ piece of the three, I’ve tried to make a very internal and reflective kind of music. The sleepy village of Crail boasts a peaceful and atmospheric harbor with a view out across the Forth that looks towards the Isle of May. Den Dunino Den is a peculiarly mysterious and special location with a history of spiritual human activity dating back to the Picts and before. This piece responds directly to the Den, and refers to its mysterious qualities and functions both historic and current as a place for ceremony and delirium. This is a sound installation which forms part of a larger exhibition of work by artist Anna Chapman. Anna whose exhibition “Subjects of Melancholy Retrospection” drew extensively from the books that once belonged to the library and now reside in the National Library of Scotland invited me to install sounds in the wonderful library, one of the first and largest in the country in the 18th century but now devoid of books, as they were taken by the National Library of Scotland in lieu of death duties. Joby Burgess and Gabriel Prokofiev invited me to write a remix for their import-export project.  The disc was released in 2010.
Taking Sean Williams, Owen Green and Lauren Hayes to STEIM for a week of orientation and introduction to what’s going on there.
It can be scheduled to fit the needs of the building, festival or event, or left to expand, contract and sprawl freely. It attempts to exploit data from the onboard sensors of your phone or tablet and turns your device into a mobile performer.
Archive searches have focused on themes from panels about privacy, spying, networks, mass media and the future of culture, ideas pertinent to mobile devices and their potential to both liberate and confine us. Semantic Search is a project currently under development with MSc students based at Edinburgh College of Art, The University of Edinburgh.
The piece is busy, dynamic and noisy, but burns itself out after around 10 minutes, when it’s a good idea to quit the app and start it again (if you want to listen to more). It attempts to exploit the complex array of sensing devices on contemporary mobile phones to perform the piece in real-time as you travel around the city.
It is based on the idea that sound itself can be used as an interface to drive reactions from a computer. The first is that given the jars should be large enough to hold and the microphones are placed inside them, you’re literally holding the sound in your hands as you play. This is a temporary mix that I may replace with the next performance of the piece at the Surrounded Festival in Munich later this month. Should be a multispeaker blow out with jam jars, dirty mics, a new film and text by Catherine Street. Screening and performance at Generator Projects, 25-26 Mid Wynd Industrial Estate, Dundee, DD1 4JG. The film will be followed by readings by poet JL Williams and Catherine Street, as well as live performances by composers and improvisers Martin Parker and Owen Green.
His sound-centric work ranges from theatre music and film to sound installations, instrumental works and site specific performance. He has made collaborative work with Evan Parker, Theatre Cryptic, the Baltimore Symphony Orchestra, Music at the Brewhouse and the BBC Scottish Symphony Orchestra and his sound installations have been presented in places as diverse as the Klangturm, Austria and in the National Trust For Scotland’s abandoned library at Newhailes. The piece attempts to engage with some of the issues surrounding computer addiction and the resulting isolation this implies. I took a very specific role converting sounds recorded from the cellist and saw virtuoso Su-a Lee and mapping them to a graphics tablet to create a virtual cello.
It was our conscious intention whilst recording that we lay down material to be combined with, or placed against, other improvisations.
The way we worked this morning was to take each voice of the processing system in turn and establish a series of settings that we thought worked well.
Depending upon what else is in the programme, it can be a long blow, full of atmosphere and tension, or it can be more flamboyant and short. In order to welcome a new group of academics to their Young Academy of Scotland, on the 29th November 2011, they asked me to design an installation that connected with the research and work of the new academy and represented some of the synergy they hoped the new group might have.
The piece was commissioned by Music at the Brewhouse and developed with funding and support from Creative Scotland, the University of Edinburgh and Inspace. Playlist interludes is a series of 10 short pieces to dump into your music collection.  They can be listened to in order A-J but better to stumble across them on shuffle play. We’ve been developing the first official edition of gruntCount, a sound-managed (self playing) piece for solo instrument and computer. I’ll publish the score and software on sumtone soon, it will then be available for other flautists to take on the road.
The image above is the map of the piece that Anne performed; 8500 grunts took her around 15 minutes to get through.
Notation instructions have been replaced by a pre-defined structure that is learned as the player rehearses. The computer part responds to the live input if sound input crosses a threshold specified in advance.
The computer will ideally be present on stage and the player will start the piece off who then must leave the computer alone until the preset map is complete. If you look around carefully you’ll find carvings on some of the rocks near the brook and stones from an ancient stone circle are littered around the church yard near where you’ll park when you come here. The piece slowly awakens to rhythmically processed material recorded in the forest at 5am on an April morning. The project was developed in response to Newhailes, a National Trust for Scotland building on the northern edge of Edinburgh.


Panels from the CWA archive have been sampled that deal with themes that relate in tangential and loose ways to themes that have a link to mobile phones.
I’m sampling both the sax and piano and playing a synth controlled by the graphics tablet. Importantly these are controlled by a very limited sound generating instrument – a pair of glass jars. By changing how much you cover the tops of the jars with your palms, you can directly control the frequencies of the feedback in the system. His approach to music making is defined by an expectation of spontaneity and adjustability which means most of his projects feature an element of unpredictability. In 2009, Martin began working with locative media and developed a series of works for headphones and special sites around the East Neuk in Fife, Scotland. This was integrated within a band made up of Evan Parker, Fritz Welch, Pete Furniss, John Eckhardt, Percy Pursglove and Owen Green. The compositional form was made in post-production then, even though all elements were improvised live and made together as a trio. We also got as far as finding some mixes of the different voices and parameters but have still to find a musical structure that makes sense of the wide variety of sounds that Peter can produce in combination with the software.
The installation had to be accessible and safe for families, children of all ages and adults should be able to enjoy it.
They wanted to represent the different disciplines of the academics involved so I took a list of keywords from their research profile and invited Mauricio Escamilla, Varun Nair, Matthew Collings and Evan Holm to help collect visual and sonic responses to these keywords from Google searches.
I then mixed in studio material that latched onto elements of pitch, rhythm, timbre or general feel of these environments to create some sort of friction or interrelationship between the two worlds.
Meanwhile, I’ll be working with other instruments to get settings for their own edition of gruntCount soon. However, the duration of the piece and the sounds the instrumentalist will play are largely open and versions of the piece could be configured to last anywhere between 5 and 20 minutes depending upon the needs of the performance. Close integration between player and electronics is achieved by connecting the threshold crossing event with a range of interconnected parameter changes that are nested within one another. The computer will dutifully stop making sound once the journey through the preset map is complete. Field recordings I’ve taken from various recording trips with my portable in-ear microphones have been used throughout. As the music progresses the digital aesthetic takes over but the sound of bells coming into and out of the texture cut through this.
The basic idea is to bring listening on mobiles closer to a now-or-never experience — rather than always the same each time you encounter it, journeyMan will perform for you as you move around. You don’t have to dance, or move in a special way, just start the piece and put the phone or tablet in your handbag or pocket and start moving. The work incorporates footage from Joseph Kittinger’s epic 1960 leap from space, weaving electronic and instrumental music around a real-time visual remix.
Each loud noise in the room where the installation was setup would cause a new concept to be born with a keyword and an image presented together but randomly selected. Such extremes are possible (and permissible), because this is part of the fundamental concept of the piece. Unless the settings are configured to remain the same when the threshold is crossed, any sonic event will result in a change across multiple parameters leading to a discernible sonic result. Because there is no score, there are no limits as to how much input is enough to push the piece along and this leaves enough of a certainty vacuum to justify its status as an improvisation.
Sounds recorded in the cave are also present giving the feeling that there might be others with you.
You may find interest in the piece for up to 5 minutes, though some have spent much longer with it.
These ideas, to me, all seem to resonate with the contemporary smart phone from the commercial mining exploitation in Congo required to source the raw materials that allow smart phones to work to the recent knowledge (post-Snowden) we all have that the phone is the ideal device for both corporations, colleagues and governments to spy on us. As a multichannel piece, scalable to any number of loudspeakers, the sounds rove around the room – this movement is linked to the amplitude and frequency of the sound that is made by the jars. I built the core engine for playing sounds but my main job in this project was to oversee the development of the installation and help Matt, Brendan and Jung-in as needed. Not only should this piece of computer music be accessible and reliable enough for players to be able to rehearse alone, the player also gets autonomy to change the scope and scale of the piece by changing the number of ”grunts” to count before the piece finishes. The many layers and juxtapositions in this piece allude to the many uses this cave might have had, from shelter to smuggler’s lair, from holy site to an empty space. As I play, I have the feeling that I can freeze the sound into the room if I can discipline myself to stay still for long enough. A player who has rehearsed the piece several times will develop an understanding of how the improvisatory tension develops and will give the player confidence to find musical solutions to some of the unexpected events the computer may throw up as the piece runs.
To add to the excitement, a few parameter changes are not absolute, rather a change may simply offer permission for a meso-sonic sound element to be randomised. The music should leave you with space to hear the sounds of wind and sea through your headphones, listening at louder levels may mask the presence of the environment you are in though.
Your ship drops you back on the harbor side to the accompaniment of digital rain and a distant defensive arctic tern.



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