The voting results are in from EVA London 2014: my demo of a real-time psychedelic visualisation (‘psych dome’) came 2nd place in the ‘best demo’ category! Full results here.
Next week I will be presenting a talk on altered states of consciousness and electroacoustic music, and screening of my psychedelic visual music films at Fort Process, an arts council funded festival in a fort, headlined by free-jazz legend Peter Brötzmann. I will also be performing at the festival with Repo Jazz. The festival has already sold out!
Programme note for the talk below:
Dr. Jon Weinel is an artist and academic researcher based in the UK (North Wales). His work focuses on methods through which hallucinatory altered states of consciousness can be represented in sound and computer artworks. His work in this area includes compositions of electroacoustic music, experimental video artworks, software and interactive systems. In this talk, Dr. Weinel will give a brief historic overview of psychedelic art: from early shamanic cave paintings to modern electronic music. He will then discuss a variety of his own projects which explore the idea of psychedelic altered states of consciousness, ranging from computer music to experimental video artworks and work with computer game engines. The second half of the talk will include the screening of several recent experimental video artworks (visual music) by Weinel, including brand new work created using a combination of 8mm film and digital techniques.
After Fort Process i’m going straight on the ICMC | SMC conference in Athens, where i’ll be presenting a talk on Easter Eggs: Hidden Messages in Musical Mediums and screening Mezcal Animations. In the first week of October I’m then off to Denmark where i’ll be presenting a paper entitled Sound Through The Rabbit Hole: Sound Design Based On Reports of Auditory Hallucination at the Audio Mostly 2014 conference (University of Aalborg).
Got my copy of the new CyberCity cd this week. Lots of excellent new speedcore/flashcore tracks by Atomhead, Neurocore and others. Check out the soundcloud preview. Very limited copies of this so act quickly if you want one… essential cyberdelic listening!
My latest experimental video artwork was created using empty mezcal bottles and a bad attitude.
Cenote Animations: i. Cenote Zaci
Cenote Animations is a trilogy of psychedelic experimental video artworks. Drawing inspiration from his experiences swimming in the cenotes of Mexico, each piece is a cenote-themed visual music hallucination. The pieces utilise a combination of direct animation on 8mm film, together with stop-motion animation and computer graphics. The sound is also a blend of digital and analogue techniques, utilising analogue synthesis, hardware effects pedals, mezcal bottles and a shinobue purchased from a Tokyo flea market.
Some nature recordings, testing out my new recording setup for stereo ambiences, using a Rode NT4 + blimp. These were recorded at Brown Moss nature reserve in Shropshire, 8th June 2014. In the last two recordings you can hear it starting to rain, eventually becoming quite heavy!
I have a new article in the latest edition of Sonic Ideas/Ideas Sonicas, the excellent dual language publication produced by the Mexican Center for Music and Sonic Arts (CMMAS). This piece, originally penned in 2011, discusses a conceptual view of electroacoustic music as an ecstatic technology. This edition of the journal focuses on music and philosophy, and is available now from the CMMAS shop.
Shamanic diffusions: a technoshamanic philosophy of electroacoustic music Electroacoustic music affords the possibility of creating journeys through non- realistic or illusory spaces, through the use of sonic materials. This article proposes the application of the concept of ‘technoshamanism’ as a principle for composing and performing electroacoustic works of this type. I shall commence by examining the use of the term ‘technoshaman’ in relation to psy-trance culture. Through consideration of Rouget’s (1985) definitions of ecstasy and trance, I will discuss the relationship of psy-trance culture to Rouget’s definition of trance. From this position I shall then propose the use of electroacoustic music in relation to Rouget’s definition of ecstasy. This will enable me to define ‘shamanic diffusions’ as an opposing technoshamanic approach to that which is used in psy-trance. Under this discussion, electroacoustic music will be considered as an ecstatic technology. I shall then conclude with some comments and speculation regarding how this concept may be useful as an approach for the composition and performance of electroacoustic music. For example, in various composed works I have used altered states of consciousness and hallucinations, as a principle for the design of sonic materials and musical structure. Through the course of this article then, I will describe a conceptual model through which to consider electroacoustic composition and performance.