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 recenty had the opportunity to take a good long look at Ableton Live’s Arpeggiator MIDI effect. I have used it here and there in the past, but recently discovered how flexible it is. There are many more algorithms (labeled as styles) than I have seen on other arpeggiators (a total of eighteen styles) for a broad variety of patterns. This example uses the “Thumb UpDown” style. Imagine playing a sequence of notes on your right hand starting with your thumb, then index finger, back to thumb, then middle, etc. and that’s kind of what this particular style does to the notes fed into it. Other capabilities of the arpeggiator include a velocity ramp to manipulate the dynamics of the patterns, and typical parameters like retriggering, gate, and groove.
Unearthed Music artist ten72 has completed a luscious album of sonic experiments titled Transdimensional Bypass (full length previews). This gapless collection of pieces has astonishing textural depth and sonic complexity; something that I’ve come to expect from ten72’s music, but surprising in this case since every bit of audio on the album was recorded on a mobile phone.
To make this a possibility ten72 has ingeniously used a profusion of processing to metamorphose the lofi, metallic sputterings of his mobile field recordings into an opulent dream scape of illusory audio. A single part of this anthology out of context is not the best way listen, but here’s Folds of Color to give you a tiny taste. The release will be available from Unearthed Music and major online distributors as a high quality download on January 8, 2009.
Tonight I’ve decided to share another of my first few Sony PCM-D50 test recordings. It is simply the sound of filling my bathroom sink partway with cold and then the rest of the way with hot water followed by the much quieter sound of the water draining down the plug hole. These sorts of mundane sounds are especially interesting to me once they have been recorded and taken out their context. Do we ever really listen to the sounds things make while we go about our daily lives? Probably not. And for good reason. If we were distracted by the qualities of the typical sounds in our environments we would never survive as a species. Our hearing is tuned to alert us when we hear irregular or unusual sounds. To my ears, ordinary sounds become extraordinary when I focus on listening to them.
I created this sequence of randomized notes using Processing.org with the RWMidi library installed. The notes were randomly selected from a C minor scale. I also randomized the occurrence of the notes to eliminate any rhythmic qualities. The velocity was also randomized within a range so there’s absolutely no consistency to the dynamics either. I could go further into Dada territory by using a chromatic scale, or even random frequencies entering into microtonal realms, but this is just an experiment I did to test some of the functionality within the library.
The cellular automata known as the “Game of Life” originated from work done in 1970 by British mathematician John Horton Conway. Curious about how the game of life sequencer would react to documented patterns, I drew several of them into the sequencer and captured the MIDI output in Ableton Live. In order to use the documented patterns I changed the grid to thirteen by thirteen squares so I could match the patterns exactly. I got some variable musical phrases as a result. A very symmetrical sequence was produced by the pulsar (pictured). Starting the sequencer with the pulsar created a simple, rigid one half bar pattern before all the cells died. Afterward I ran the MIDI into a virtual instrument, looped it, and applied processing to get today’s sound.
I recenty had the opportunity to take a good long look at Ableton Live’s Arpeggiator MIDI effect. I have used it here and there in the past, but recently discovered how flexible it is. There are many more algorithms (labeled as styles) than I have seen on other arpeggiators (a total of eighteen styles) for a broad variety of patterns. This example uses the “Thumb UpDown” style. Imagine playing a sequence of notes on your right hand starting with your thumb, then index finger, back to thumb, then middle, etc. and that’s kind of what this particular style does to the notes fed into it. Other capabilities of the arpeggiator include a velocity ramp to manipulate the dynamics of the patterns, and typical parameters like retriggering, gate, and groove.
Tonight I’ve decided to share another of my first few Sony PCM-D50 test recordings. It is simply the sound of filling my bathroom sink partway with cold and then the rest of the way with hot water followed by the much quieter sound of the water draining down the plug hole. These sorts of mundane sounds are especially interesting to me once they have been recorded and taken out their context. Do we ever really listen to the sounds things make while we go about our daily lives? Probably not. And for good reason. If we were distracted by the qualities of the typical sounds in our environments we would never survive as a species. Our hearing is tuned to alert us when we hear irregular or unusual sounds. To my ears, ordinary sounds become extraordinary when I focus on listening to them.
The cellular automata known as the “