John CS Keston is an award winning transdisciplinary artist reimagining how music, video art, and computer science intersect. His work both questions and embraces his backgrounds in music technology, software development, and improvisation leading him toward unconventional compositions that convey a spirit of discovery and exploration through the use of graphic scores, chance and generative techniques, analog and digital synthesis, experimental sound design, signal processing, and acoustic piano. Performers are empowered to use their phonomnesis, or sonic imaginations, while contributing to his collaborative work. Originally from the United Kingdom, John currently resides in Minneapolis, Minnesota where he is a professor of Digital Media Arts at the University of St Thomas. He founded the sound design resource, AudioCookbook.org, where you will find articles and documentation about his projects and research.
John has spoken, performed, or exhibited original work at New Interfaces for Musical Expression (NIME 2022), the International Computer Music Conference (ICMC 2022), the International Digital Media Arts Conference (iDMAa 2022), International Sound in Science Technology and the Arts (ISSTA 2017-2019), Northern Spark (2011-2017), the Weisman Art Museum, the Montreal Jazz Festival, the Walker Art Center, the Minnesota Institute of Art, the Eyeo Festival, INST-INT, Echofluxx (Prague), and Moogfest. He produced and performed in the piece Instant Cinema: Teleportation Platform X, a featured project at Northern Spark 2013. He composed and performed the music for In Habit: Life in Patterns (2012) and Words to Dead Lips (2011) in collaboration with the dance company Aniccha Arts. In 2017 he was commissioned by the Walker Art Center to compose music for former Merce Cunningham dancers during the Common Time performance series. His music appears in The Jeffrey Dahmer Files (2012) and he composed the music for the short Familiar Pavement (2015). He has appeared on more than a dozen albums including two solo albums on UnearthedMusic.com.
I have had a number of problems migrating my Processing.org application known as the GMS from my old MacBook Pro running OS X 10.4.11 to my new one running 10.5.7. The first issue was alack of support for the IAC drivers in Java, next were some funky conflicts with the Java class I was using to load and save presets. With the help of Grant Muller I have solved these problems.
While I was at it I took on a couple of other issues as well in preparation for my performance on Sunday. All that’s left is for me to become reacquainted with the application in tandem with Ableton Suite 8.
This is actually the hard part because I have use the application effectively as an instrument and real-time visualizer. One problem is running out of hands and fingers while producing the visuals and capturing the MIDI clips. Another danger is the music becoming repetitive while making adjustments. Here’s a quick recording I made while practicing.
My new duet, “Ostraka with Dial System” (John Keston and Graham O’Brien) is performing at the Kitty Cat Klub in Minneapolis on Sunday, August 9, 2009. This group combines the stochastic, angular melodies produced by the GMS with live drumming. Gestural video input is simultaneously projected onto a screen and processed into musical data. The results are captured in real-time and molded into spontaneous compositions. Special guests include DJ Zenrock and Terr the Om.
To get an idea of what you might hear, have a listen to these examples from a rehearsal recording that was made in May, 2009.
Ostraka with Dial System Jam #2
Today is the official release date for Precambrian Resonance. As I mentioned, the release is timed with my 365th sound posted on Audio Cookbook in 365 days. For my 365th sound I am presenting Fire Diamond. It is track number thirteen on the album. Whereas most of this release is a departure from my usual approach, in my opinion, this track is the most similar to my previous work out of any others within this collection. I hope you enjoy it and the rest of the album. Thanks to everyone who helped me complete this work, especially Nils Westdal, who proved to me that introspective music can be beautiful through his albums, Flavor Country, and Transdimensional Bypass.
In a few hours I’m headed to California for a night class on MaxMSP at CNMAT, the Center for New Music and Audio Technology, UC Berkeley. I am very excited to be visiting this historic college on their twentieth anniversary. In preparation for my trip I put my favorite pair of my trainers in the dryer after a wet ride in the rain. Naturally I recorded the stumbling rhythm they produced while tumbling in the heated bin.
Cuba Illinois is the last track on Precambrian Resonance. I produced this experimental ambient piece last September and have made very few changes from the first version that can be heard in the original Audio Cookbook post titled Cuba, Illinois. A consistent thread through piece is made up of sampled vowels sounds running through a vocoder. Here’s the full-length mastered preview on Last.fm.
I have had a number of problems migrating my Processing.org application known as the GMS from my old MacBook Pro running OS X 10.4.11 to my new one running 10.5.7. The first issue was alack of support for the IAC drivers in Java, next were some funky conflicts with the Java class I was using to load and save presets. With the help of Grant Muller I have solved these problems. 
My new duet, “Ostraka with Dial System” (John Keston and Graham O’Brien) is performing at the Kitty Cat Klub in Minneapolis on Sunday, August 9, 2009. This group combines the stochastic, angular melodies produced by the 
Today is the official release date for 
In a few hours I’m headed to California for a night class on 
Cuba Illinois is the last track on