Drones

Drones is the next piece in the Strands series. These audiovisual compositions illustrate the interpretation of animated, generative, graphic scores written in JavaScript. Drones is made up of animated Bezier curves. Interpretation of this piece is more abstract than the others. I interpret the motion of the curves as layered, morphing drones. This piece might elicit entirely different results from one performance to the next.

I performed the piece using the Organelle M, Bass Station II, a kalimba, and a harmonica. I played, live looped, and processed the instruments in one take through the Organelle M running Orac 2. Orac is a virtual modular system built with Pure Data and designed by Mark Harris. Using Orac I am able to run live looping, several signal processors, and sample playback all at once. Here’s a sketch that illustrates how I configured Orac for this performance:

To record the kalimba and harmonica I used the internal mic on the Organelle M. Then I flipped a switch on the back of the Organelle M to capture the Bass Station II with the direct inputs. Although the internal mic is not spectacular, it is pretty good. I ended up pressing the kalimba to the body of the Organelle M to get a hotter signal as I recorded it.

Another excellent feature in Orac is MIDI Learn. In the photo above the Bass Station II and the Korg NanoKONTROL are both powered by the Organelle. The Nano allows me to manipulate the processing, adjust the send level, mix the chains, and anything else I want to control. This was a perfect portable setup for traveling to the ISSTA conference.

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About John CS Keston

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.

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