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.
The sound of the water going over this section of the Coon Rapids dam across the Mississippi river about fifteen miles North of Minneapolis, was deafening. Virtually all other sound within the environment was drowned (no pun intended) out by the fierce white water noise. I made a recording that is about a minute and a half long. Here’s about thirty seconds of it, but my questions is what would one use this sort of sound for, other than water over a dam sound effects?
Could be used as part of a non-literal sound design moment taking you into the psycological POV of a character in a film or game type situation perhaps?
I’m sure it would be useful in helping to build up a rich texture in an electro-acoustic piece…
@James nice ideas
If edited right, you could use the sound as TV or FM radio channel surfing.
Cheers!
Jack Josey
Audiobag.com
@Jack Josey That you could, although the real thing is easy enough to come by.
How about using this as a surreal, surround channel, enveloping the audience as the 1st person POV camera gets sucked into a TV? You can use the real stuff for the center channel, and let this sound blow your viewers minds…er, ears.