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.
Martin Dosh and I have been playing one-off shows together in various ensembles for longer than I care to divulge. However, unless I’m misremembering this will be the first time as a duet. The Rhodes electric piano has always been our common ground, and I will have my new Osmose Expressive E along as well to share how I have been approaching that instrument. Tripfacesmile.com will start the night off with a set of modular synthesis. Please join us at ROK Bar, 882 7th St. W, Suite 12, St. Paul, MN 55102 on September 9, 2023.
Last Tuesday, August 29, 2023 was the fifth entry into the AudioCookbook Live streaming show. This time around two guests participated with me including Lucas Melchior aka MKR, and Evan Beaumont. Each us of played music using the Dirtywave M8 tracker. I was thoroughly impressed with the work that Lucas and Evan performed, so I am pleased to be able to share the stream archive with you. The video is long, but I have included chapter markers so you can skip the discussions, although I think we made some interesting points about how using trackers influences our approaches to music composition, production, and performance.
Join us for a night of music at ROK Bar, 882 7th St. W, Suite 12, St. Paul, MN 55102 on September 1, 2023. Jesse Whitney starts off the evening with a solo electronic set, followed by two trio sets from Eric Carranza (guitars and electronics), Matty Harris (saxophones), and me (keys included my Osmose Expressive E).
The internet has been buzzing with demos of the Osmose Expressive E since they started arriving to VIPs studios earlier this year. I have been fascinated by it since 3D renders of it showed up in November of 2019. Four years later, I finally have it and now that I’ve had a day or two to allow my brain to reassemble itself I’m ready to say something about it.
There are many directions that artists will steer this machine. One is by leveraging physical modeling to emulate acoustic instruments. Doing this requires developing the techniques and having the knowledge to work the Osmose into matching the range and textures of the target instrument. Secondly it requires expertly designed patches that can translate the subtleties of the player’s expression into the expected nuances. Benn Jordan has a great video here that goes into detail about how this can be done. I do not intend to address the debate regarding “should this be done?” in this article, other than to state that there is an ongoing debate (perhaps since music was electrically amplified) along with far reaching consequences to musicians and the music industry at large of which we all ought to be aware. Continue reading →
Although the video quality is not what I’d like I recorded the audio in multitrack then, mixed it, and applied some rudimentary mastering. As a result the archived videos sound better than the original stream. Enjoy!
