Cenote Zaci

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.

Brown Moss Nature Recordings

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!

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Ecstatic Technologies

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.

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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.

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New article on direct animation in a digital context

I have a new article in eContact! about direct animation techniques in a digital context.  This edition of eContact is about video music, and includes lots of other interesting articles.

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Digitized Direct Animation: Creating Materials for Electroacoustic Visual Music Using 8mm Film
This article discusses the use of direct animation techniques in a low-budget, digital context to compose a piece of psychedelic visual music with electroacoustic sound. Techniques for the application of ink, paint and other materials to the film stock and digitizing the results are explained.

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Mezcal Animations at Sweet Thunder Festival, San Francisco

This month my visual music composition ‘Mezcal Animations’ will be screened at the Sweet  Thunder Festival in San Francisco.  The film is being shown as part of a programme of electroacoustic works curated by Tom Erbe.  I am currently working on ‘Cenote Animations’: the sequel to ‘Mezcal Animations’, which also uses direct animation on to standard 8mm film.

Screen shot 2014-04-08 at 13.42.03