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.
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?
So far my examples of Processing Sound Using Photoshop have been recognizable in comparison to the original versions. In my initial experiments my intent was to apply subtle changes as a reference. However, it’s interesting to hear what happens without restraint. Here I applied the Wave filter, which in many respects is analogous to sound. For example, you can assign a sine, square, or triangle wave to process the image. This filter changes the sound so dramatically that you might very well get similar results from altogether different sound sources. Imagine an ensemble of people wobbling sheets of flexible material in sync with each other.
Gaussian blur was the first Photoshop filter I tried applying to sound. I was not sure what to expect. I imagined the signal might be distorted or over-driven in some way. A Gaussian blur is created by applying a Gaussian function, which is also used in statistics for normal distribution. Instead of hearing distortion, the audio, to my ears, actually sounds blurred. The effect is like a chorus, but the envelope is less clear. The attack of each note seems slower or spread out while the frequency is blended or even slightly warbled. All in all a pleasantly surprising experiment.
Once again, here’s the same electric piano from Processing Sound Using Photoshop. This time is has been liquefied by the Photoshop filter of the same name. Liquefy is nice because is relies on the human element of dragging through the image to warp it in the direction the mouse pointer is moved. I purposefully did not liquefy short sections of the waveform so I could compare the original signal and the manipulated one.
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. 
So far my examples of 
Gaussian blur was the first Photoshop filter I tried applying to sound. I was not sure what to expect. I imagined the signal might be distorted or over-driven in some way. A 
Once again, here’s the same electric piano from