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.
This microtrack is made from three prior One Sound Every Day entries, as well as some quickly programmed beats. The mystery is which entries contain the three sounds used? Have a guess and post all three selections as links in a comment. Grand prize is the recognition of ACB readers around the world! This is not quite the same as the Mystery Sound Number One post from April, but more of a hide and seek version. Each sound is fairly clear in the track, and none of the sounds in question are part of the drum patterns.
Here’s a recording I made last weekend on our second night of camping during the MS150 fundraiser cycling event. The weather for the ride was actually fairly dry, but in the early evening we experienced a brief downpour after the first stage of the ride in Hinckley, Minnesota. As I waited out the rain in my tent each drop of water that landed made a nice popping sound. The recording sounded much different than I expected, almost like static with a surprisingly wide stereo spectrum.
This microtrack is made from three prior One Sound Every Day entries, as well as some quickly programmed beats. The mystery is which entries contain the three sounds used? Have a guess and post all three selections as links in a comment. Grand prize is the recognition of ACB readers around the world! This is not quite the same as the Mystery Sound Number One post from April, but more of a hide and seek version. Each sound is fairly clear in the track, and none of the sounds in question are part of the drum patterns. 
Here’s a recording I made last weekend on our second night of camping during the MS150 fundraiser cycling event. The weather for the ride was actually fairly dry, but in the early evening we experienced a brief downpour after the first stage of the ride in Hinckley, Minnesota. As I waited out the rain in my tent each drop of water that landed made a nice popping sound. The recording sounded much different than I expected, almost like static with a surprisingly wide stereo spectrum.