On 29 May 2019, to celebrate the arrival of Colossus Mk II at Bletchley Park in 1944, Colossus Wrens and relatives of Colossus veterans gathered at The National Museum of Computing. A new display in the Colossus Gallery at TNMOC reveals some of the intelligence that Colossus helped decrypt from Lorenz messages between Hitler’s High Command.
We provided audio to this project, using the original sound recordings taken as part of The Imitation Archive of Colossus and other related materials from the decryption technologies used in World War II in the vital operation that led to D-Day on June 6th 1944.
This video series commemorates the breaking of Lorentz, the cypher technology used by the German High Command in the Second World War. The videos are part of the D-Day Memorial commemoration.
Filmmaker Tyler Freeman-Smith invited Matt Parker to work as dubbing mixer and sound designer for a series of videos with Nikon Ambassadors who describe the process and what it takes to get ‘that shot’.
Client: The National Museum of Computing, Bletchley Park and The British Library
Sound Recordist and Composer: AudioGAMMA (Matt Parker)
A Sonic Archive of Computing Technology
Following a period of two months at The National Museum of Computing at Bletchley Park, AudioGAMMA sound artist Matt Parker recorded and archived over 100 sounds from the historic collection of computers within the museum. The Imitation Archive, was submitted to The British Library Sound and Vision Archive to act as a permanent repository of the sounds of 70 years of computing history, starting as far back as the first ever programmable digital computer, Colossus.
Composing the Archive
Using the archived materials, Matt composed ten unique pieces of musical composition that reflect his experiences of late nights and long days enveloped in the sounds of computer history as well as the stories behind the objects.
THE PEOPLE’S CLOUD is a documentary film that gets to the bottom of the internet; investigating the ecology and impact of cloud computing on the lives of those who use it, the places it is physically located in and the people who work to maintain it.
Traveling across Europe the film searches for the sites and sounds that make up infrastructure of the internet. From secretive data centre factories and network exchange hubs to submarine cables and fibre optic landing sites, THE PEOPLE’S CLOUD investigates the environmental and geopolitical impact of mobile data storage, asking engineers, technicians, manufacturers, marketing experts, salespeople, economists, husbands, wives, family members and artists what ‘the cloud’ means to them and what this data boom has meant to their lives.
Awards Nominated for the Prix Field Recording. Phonurgia Nova Awards, France (2018)
Directed by Matt Parker
Technical Specs Running Time: 59 minutes Aspect Ratio: 16:9 Original Format: HD video Audio: 5.1 Screening Format: DCP Language/Subtitles: English
Credits Cinematography: Sebastien Dehesdin Additional cinematography: Michael James Lewis Sound Recording: Matt Parker Composition: Matt Parker Additional Composition: Gary Salomon Video Edit: Matt Parker Sound Post Production: Matt Parker Colourist: Sebastien Dehesdin
Brief: Film Production, Sound Design and Composition
What is ‘The Cloud’ and how is it affecting our lives? The Cloud is more than Air and Water is a project investigating the acoustic ecology and impact of cloud computing on the lives of those who use it, the places it is physically located in and the people who work to maintain it.
Internet enabled computers and mobile devices are ubiquitous within the western world but not too long ago computers were humongous machines, occupying vast spaces and generating a great deal of noise; the noise of spinning fans and disks. As technology has evolved, ‘cloud computing’ has become prevalent and today’s smartphones sit silently in our pockets, no longer making the noise of computers of old. Or are they?
As we transfer our data across the internet, where is it going? Most people have no idea where their ‘online’ data is once it’s uploaded onto ‘the cloud’, but it is definitely not in the sky. The Data Centre, an often huge building filled with computers, heat, spinning fans and disks has enabled us to transfer the noises of computing and locate them somewhere else, somewhere unknown, and somewhere on a mass scale.