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.
By now most of us have experienced several, or even dozens of instrument apps on the iPhone and iPod Touch. From acoustic pianos, to analog modeling synthesizers, to step sequencers, there’s enough out there to create a veritable, electronic, orchestra of multi-touch maestros.
I don’t actually have an iPhone but my girlfriend and many friends do. And out of all the aps that i have tried I would totally agree with you on this one! Bebot is so tangible and awesome! If all synths were as cute as this one though we wouldn’t get any sound making done…
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I realize this post is a bit old, but how about bebot on the ipad? Even more relevant in my opinion. Or now with the added real estate, maybe there will be some even more rich synth apps.
Hey, Joel. I love Bebot. Imagine it on a three foot wide panoramic multi-touch tablet. The idea of a multi-touch synth / lap-steel is really appealing.
I’ve really been enjoying Star6. It’s sample based, so it takes a little time to prep your samples, but it’s really effective. I’ve been experimenting with pairing it with my turntables.
http://www.agilepartners.com/apps/star6/
Prior to iOS 5, the iPod branding was used for the media player included with the iPhone and iPad, a combination of the Music and Videos apps on the iPod Touch. As of iOS 5, separate apps named “Music” and “Video” are standardized across all iOS-powered products. While the iPhone and iPad have essentially the same media-player capabilities as the iPod line, they are generally treated as separate products. In the last few years, iPhone and iPad sales have overtaken those of the iPod.^*”*
http://www.caramoan.ph
Have a nice day