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 got this strange plastic wind up toy at a work event several years ago. I wrapped a rubber band around his neck because he started falling apart and spilling his guts all over the place. A little glue would probably fix that, but after this experiment I suspect that he is likely to get forgotten in a drawer for another few years. He shoots sparks and walks in a not so straight line. His labor intensive stumbling gate also makes quite a racket as you will notice from the recording.
A variety of processing went into this segment of backwards Rhodes electric piano. I started with a chunk from a loop recorded during a recent performance. I reversed the chunk and then slightly time compressed in Ableton Live to give it a bit of a stutter. This caught my attention, so I dropped it onto a track that I had been using to test some processing including gate, distortion, Live’s paragraphic eq, compression, and delay. But in between the eq and the compressor I had added MDA’s RezFilter. I had also programmed a MIDI controller for adjusting the speed of the LFO and the maximum frequency on the plugin, so this gave me the tools to have some fun by automating these parameters while recording. There are some particularly harsh frequencies here, so I recommend starting out at low volume.
No, this is not the answer to a “before and after” puzzle in an episode of Wheel of Fortune. They are two of many Photoshop filters. These sound files are the rejects. Although not bad, I did not find the effect these filters had on my electric piano passage as interesting as the rest of my experiments. They also sound very similar to each other, which might not be the case using different sounds, or with other settings. Anyway, this is it for my first round of using Photoshop filters to process audio. Next time I plan on trying this with some more natural, acoustic sounds.
Today while tapping (no pun intended) the archives I came across this example of a recording I made of gurgling water in a glass by blowing through a straw. I posted a similar albeit higher pitched example a while ago in the entry Bubbles, and one of my first entries on ACB was pitched down and reverberated Water Atmosphere I produced for Aaron Dablow’s animated short, Drown. This thirty second recording required a long steady exhalation of the breath in my lungs as you can tell from my reaction at the end of the segment.
Over at Audio Cookbook, John Keston has been running a few experiments with using image filters in Photoshop to process sound. Running the audio data through a Gaussian blur or Spherize filter, he was able to create some incredibly diverse effects from a simple electric piano input.
Thanks to Make: Blog author Jason Striegel for the good words. Checkout the full article over on the Make: Blog website. In addition to Make: the article has been written about on many other blogs in English and German including Synthtopia and Media Synesthesia. Who knew it would create such a stir?