From May 27 to July 26, 2014 I participated in The Audible Edge, a group exhibition that “explores intersections of architecture and sound, inside and outside the gallery space.”
The Audible Edge includes With Hidden Noise, a traveling exhibition of sound art projects, including works by Taylor Deupree, Jennie C. Jones, Pauline Oliveros, Andrea Parkins, Steve Peters, Steve Roden, Michael J. Schumacher, and Stephen Vitiello. With Hidden Noise is part of ICI’s Exhibitions in a Box series. Produced by Independent Curators International (ICI), New York, this exhibition is curated by Stephen Vitiello. The Audible Edge includes artists invited by the organizing team to participate in the exhibition, including J. Anthony Allen, Philip Blackburn, Mary Ellen Childs, Douglas Ewart, Douglas Geers, Beatrix*JAR, John Keston, Abinadi Meza, Ryan Wurst and Patrick Beseda.
This project was created as a demonstration for a class that I teach titled Interactive Motion Scripting. In the class students start by learning how to script simple animations and progress to developing complex object oriented interactions. Visit Particle Playground.
A good stretch of my time working on my MFA in New Media at the Minneapolis College of Art and Design (MCAD) was spent working on my master’s thesis. Here’s the abstract:
This paper explores the idea of mutable, audiovisual scores for improvised musical performances through the description of personal perspectives, practical examples, proposed projects, and research. The author postulates that an audiovisual score can be a useful tool to connect improvising musicians to each other and their audience through the insertion of a mediating audiovisual layer within the work. These systems are used as a primary influential agent for an ensemble of improvisers, providing them with a context for a musical conversation. In contrast to traditional notation and graphic scores, audiovisual scores embrace the chaotic ambiguities of environmental influences giving the music the context of unpredictable everyday events. Presenting an unpredictable audiovisual score parallels the indeterminate improvisation of the ensemble. It activates the last vestige of what remains immutable within traditional forms of notation driven performance inserting it into a mutable layer within the work.
In my thesis you will find detailed, conceptual explanations for many of the projects that I have shared here over the last few years. There are also references to work by many other artists who have provided inspiration to me. If you’re interested please click the link below to view or download the document.
Music with Context: Audiovisual Scores for Improvising Musicians by John Keston
Machine Machine (2013) is a 32″ touchscreen installation that functions as an electronic instrument. Granular synthesis is used to loop “grains” of sound and video at variable lengths and frequencies. These parameters are based on the y-axis of the touch point on the monitor. The x-axis determines the position of the grain within the timeline. The piece was exhibited last month at the Northrup King Building in Minneapolis during Art-a-Whirl and for Visual Storage; the MCAD MFA thesis exhibition.