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.
Here’s a five bar loop of the pedal noise from the last entry. This time with no processing at all except a bit of amp modeling. In the last example I had equalized away most of the low frequencies.
This version is fairly clean so you can hear the pedal knocking sound followed by the dissonance as all of the Rhodes tines vibrate slightly after the pedal is depressed.
Here’s an excerpt from a piece of music that I created using the noise that the pedal on my suitcase Rhodes makes if you step on it the right way. The sound is processed using some of my usual techniques. I also programmed a beat of the top and laid down some reversed Rhodes and well as a simple chord progression. This probably won’t get developed much further, but perhaps I’ll use it as a segue piece of some sort.
Until now the sounds presented on ACB have included just about everything except the janitor’s sink. So here it is, recorded in the Grandpa-George building, just outside their studio space. This is the sound created by the plumbing resonating as the hot water runs through the pipes. Apparently the sound doesn’t happen with cold water, and it takes a minute for it to happen with the hot water turned on. For some reason the pipes don’t resonate unless they have hot water running through them. Derrin played the sink while I recorded the results on the Sony PCM-D50.
I’ll have to do another session down at Grandpa-George sometime soon, because I have gotten a lot of mileage out the the sound possibilities in their space.
They didn’t know it, but their office is virtually a Foley studio. I doubt they’d let me lay down some sod, sand, and gravel to record footsteps though.
Douglas, Matthew, and Derrin all tend to collect interesting objects including a pair of giant light bulbs, probably for street lamps. This is the tone produced by flicking one of the bulbs.
This typical, mundane sound has become nostalgic in many respects, but not altogether antiquated. However, this example is less typical, mainly because the sharpener was not mounted on the wall.
Derrin and Doug had to work together; one person holding the sharpener down while the other one turned the crank. This gives the sound a laborious quality that’s interesting to me.
Here’s a five bar loop of the pedal noise from the last entry. This time with no processing at all except a bit of amp modeling. In the last example I had equalized away most of the low frequencies. 
Here’s an excerpt from a piece of music that I created using the noise that the pedal on my suitcase Rhodes makes if you step on it the right way. The sound is processed using some of my usual techniques. I also programmed a beat of the top and laid down some reversed Rhodes and well as a simple chord progression. This probably won’t get developed much further, but perhaps I’ll use it as a segue piece of some sort. 
Until now the sounds presented on ACB have included just about everything except the janitor’s sink. So here it is, recorded in the Grandpa-George building, just outside their studio space. This is the sound created by the plumbing resonating as the hot water runs through the pipes. Apparently the sound doesn’t happen with cold water, and it takes a minute for it to happen with the hot water turned on. For some reason the pipes don’t resonate unless they have hot water running through them. Derrin played the sink while I recorded the results on the Sony PCM-D50. 
I’ll have to do another session down at Grandpa-George sometime soon, because I have gotten a lot of mileage out the the sound possibilities in their space. 
This typical, mundane sound has become nostalgic in many respects, but not altogether antiquated. However, this example is less typical, mainly because the sharpener was not mounted on the wall.