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.
Signs of Spring are making themselves heard in Minneapolis. For example, I recorded the sound of snow quickly melting into a storm drain near the Mississippi river in Minneapolis last night. The temperature was approaching fifty degrees Fahrenheit (ten Centigrade) creating a steady stream of water pouring into a grate adjacent to a cobble stone street. The sound was loud enough to capture my attention as I cycled past it, and nearly drowned (no pun intended) out the ambient noise of traffic and a nearby power plant.
The Sound Garden project by Norbert Herber was recently installed at the 2009 Spark Festival of Electronic Music and Arts. By good fortune I was in the right place at the right time and had the opportunity to discuss the work with the artist at the event.
The installation includes multiple channels of speakers and a variety of sensors where the installation is installed. It is also linked to a web application where sound files are “planted” and “pruned” by site visitors. Visitors to the physical location for the installation influence the audio processing by interacting with various sensors in the space.
A more thorough explanation of Norbert’s piece is available on his site. Norbert gave me permission to capture a segment from the audio stream for the purpose of this article. Before doing so I planted one of my own files from Audio Cookbook to influence the output.
I took the idea from the last post a little further and tried a different sample; an already high pitched phrase of Rhodes electric piano. I played the sample in the software sampler, Simpler, higher and higher until it faded from an audible range. I kept going until finally, around eight octaves up, I started hearing strange artifacts from the sample. At this stage I created a MIDI clip with a scale of these sounds, then ran it through compression to bring out some of the more subtle effects, equalization to eliminate any canine-hearing-damaging-frequencies, and some processing to randomize the scale. Here’s what I ended up with.
I created this sound by resampling the output from Ableton‘s Simpler as I played a meditation bell sample that I recorded at a register far beyond the audible range. Somehow I got all these odd clicks with strange tones in between. Simpler is aptly named, being a very simple example of a software sampler, so I imagine that not much development has been put into handling samples at very high frequencies. This is fine with me since it creates these interesting glitches. Perhaps I’ll try the same technique with some other samples to see what happens.
Ali Momeni has recently posted an article about his and Robin Meier’s installation Strategies for Post-Apocalyptic Computation that was shown at the 2009 Spark Festival. Based on the article it looks as though they have renamed the piece Truce. Here’s an excerpt from the article:
Our installation explores reciprocal musical interactions between the mosquito and the computer. The computer produces a stimulus signal to which the living mosquitoes synchronize. Subsequently, the computer sings a third voice that responds to the musical inflections of the mosquitoes’ buzz. These three voices come in and out of harmony depending on the mosquitoes propensity to maintain its sync with the stimulus signal.
I made three or four visits to this fascinating installation during the festival. Here’s a segment from a recording of the piece that I made during one of my visits. To see some well produced video of the installation please visit the original article.
Signs of Spring are making themselves heard in Minneapolis. For example, I recorded the sound of snow quickly melting into a storm drain near the Mississippi river in Minneapolis last night. The temperature was approaching fifty degrees Fahrenheit (ten Centigrade) creating a steady stream of water pouring into a grate adjacent to a cobble stone street. The sound was loud enough to capture my attention as I cycled past it, and nearly drowned (no pun intended) out the ambient noise of traffic and a nearby power plant. 
I took the idea from the last post a little further and tried a different sample; an already high pitched phrase of Rhodes electric piano. I played the sample in the software sampler, Simpler, higher and higher until it faded from an audible range. I kept going until finally, around eight octaves up, I started hearing strange artifacts from the sample. At this stage I created a MIDI clip with a scale of these sounds, then ran it through compression to bring out some of the more subtle effects, equalization to eliminate any canine-hearing-damaging-frequencies, and some processing to randomize the scale. Here’s what I ended up with. 
I created this sound by resampling the output from 