~ News and Views ~
“We add meaning to culture by remixing it”: Rick Prelinger on the value of preexisting material
Rick Prelinger, creator of the invaluable Prelinger Archive of ephemeral films which so many videopoets have drawn upon, has issued a newly updated and expanded version of his evolving manifesto at Contents magazine: “On the Virtues of Preexisting Material.” (There’s also an interview with Rick and Megan Shaw Prelinger in the same issue.) There are so many good points in this essay, it’s hard to resist the temptation to quote it all. But here are a few passages that stood out for me:
I don’t at all mean to criticize experimentation, but I think we need to experiment harder. Let’s ask more of ourselves rather than asking more of our software. And, while this is really hard when working with appropriated media, I’d suggest that we stop trying so hard to criticize existing media forms, and let them die by themselves. Instead, what might future forms look like? In other words, redeem recycling from a reactive mode and move it into a formative mode. Can we think about recycling as a point of origin?
My partner Megan and I run a research library in San Francisco that we built around our personal book, periodical, and ephemera collections. At some point it got a life of its own and started growing like mushrooms in Mendocino. We joke about how it’s a library full of bad ideas; I characterize it as 98% false consciousness. It’s full of outdated information, extinct procedures, self-serving explanations, ideas that never passed the smell test, and lies. And yet that’s where you find the truth.
Archives promise the possibility of a return to original, unmediated documents. I think this is part of their attraction to artists—the idea that we can touch and appropriate records without also having to inherit the corrupting crust that they’ve accreted over time. This is an Edenic fantasy, but it can also be a productive point of origin.
We add meaning to culture by remixing it. Putting something in a new context helps you see it with new eyes; it’s like bringing your partner home to the parents for the first time, or letting a dog loose to run in the waves.
While not shrinking from remixing the present, let’s enjoy the freedom that comes with working with public domain material. The public domain is the coolest neighborhood on the frontier. Use it or lose it.
Read the whole thing. And if you’d like to get into remixing public-domain and Creative Commons-licensed material to create your own videopoetic works, see our compilation of web resources for videopoem makers.
Celebrate London Poetry Systems’ 5th birthday Feb. 16 with Alastair Cook and Swoon
London Poetry Systems “came into this world when a few friends decided to put on a kind of club night mixing poetry, music and live visuals. We wanted to see poetry in a new context, one that made sense to us, that spoke of our generation.” They’ve emerged as one of the most vital spaces for contemporary filmpoetry and videopoetry screening in the UK. On February 16, they’ll mark their 5th birthday with appearances by, and live mixes from, Scottish filmpoem maker Alastair Cook and Belgian videopoet Mark Neys, A.K.A. Swoon, as well as the composer Luca Nasciuti, whose work features in the soundtracks of a number of Cook’s filmpoems. Other poets and musicians will perform as well. The location is Edel Assanti, near Hyde Park. Get the complete details from their Facebook event page, or, in a somewhat more abbreviated form, from their website.
Call for submissions: 6th annual Trevigliopoesia Festival
The Trevigliopoesia Festival has been held in Treviglio – Bergamo (near Milan, Italy) every year since 2008, and includes a competition called La Parola Imaginata. From their website:
TRP – Trevigliopoesia is VIDEOPOETRY: Video-Art, Video Documentary and Poetry Film.
The word as language but also a symbol that becomes an element as the expression of thoughts, images, visions of the poets and their lives. Combining inspirations and influences from the field of philosophy, music, theatre and literature the result of the artistic creation meet the public showing the perfect union between POEM and VIDEO.Under the patronage of the Office of Culture of the town of Treviglio, the arts association Nuvole in viaggio advertises the sixth edition of the video poetry competition LA PAROLA IMMAGINATA.
March 1 is the deadline for submissions. Download a PDF of the rules from their website. (And don’t forget that Italy’s other international poetry film festival, DOCtorClip in Rome, is also still open for submissions.)
Upgrade to the Moving Poems directory page
Visitor stats show that the directory page, Moving Poems’ index of poets and filmmakers, is one of the most-visited pages on the site. But it’s long been difficult to read, especially since the switch to a new, wider template. So I finally decided it was time for an upgrade and found a WordPress plugin, Multi-column Tag Map, that appeared to do everything I wanted. (The previous page was entirely hand-coded.) It is still perhaps a little unwieldy on smaller screens and mobile devices, when it shrinks to fewer than the maximum five columns, but on a desktop monitor it should now be fairly browsable. Check it out.
“Another new kind of poem is made”: Michelle Bitting on the making of poem-films
In an interview at Connotation Press, American poet Michelle Bitting, author most recently of Notes to the Beloved, answers a couple of questions about her poem films:
Second, I see that you have created poem-films. Does the strong visual component of films influence your poetry? Is it the other way around (does the visual element of poetry influence your films)? Or is it both? Or that you’re (like me) a very visual person?
I made the poem-films in much the same way I believe I want to make poems. Going intuitively on what I want it to feel and look like and then seeing what actually falls in my path as I go along. So, the illusion of control and then surrender to what’s happening. That’s a truly fun tight-rope to walk. I try to be willing to fall, meaning fail, and I do, a lot. Sometimes the chemistry just ain’t happening and sometimes it’s an alchemical triumph. To me, the films are poems made out of images and sound. Then, informed by the text, another new kind of poem is made. When it’s working right, it’s all poetry.
On the subject of poem-films, how do you approach and understand them? Do you have expectations for them?
I’m pretty much called to create a visual text for a particular poem and then I just start to see it and keep following the thread that spins out of whatever I’ve begun. I let what naturally falls into my lap (or lens) enter into the conversation. For instance, in the film I did for my poem “In Praise of my Brother, the Painter”, at one point, I took photos and filmed bits of an exhibit on Houdini that was showing in my city (Los Angeles) at the time. Later I wanted a particular person to be in the film as a kind of muse-slash-nod to Houdini. Eventually, I realized I was supposed to wear the top hat and so the configuration of Brother, Houdini, Me and the final images led me to a new understanding of what the piece was trying to tell me, or I was trying to tell myself, in the first place. I could never arrive at that stage of revelation without just simply putting one creative step in front of another into the unknown.
Read the rest of the interview (and scroll down to read the poems). (h/t: R.W. Perkins)
Moving Poems adds a Twitter feed
You can now follow Moving Poems on Twitter: @moving_poems. Though I continue to favor RSS feed readers myself, I have to admit that the Twitter feed proved its utility this week when Vimeo went down for several hours at midday on Wednesday — exactly the sort of thing worth mentioning on Twitter, where savvier web users tend to look for updates about site performance.
Cliché and meaning in videopoetry
I don’t share videopoems of my own work on Moving Poems; that’s confined to my literary blog Via Negativa, where earlier this week I got a little carried away with introducing a new video. In fact, I’d been meaning to say something about common videopoetry images and strategies, and it occurred to me that the popularity of at least a couple of them — moving landscapes from a train or car window and P.O.V. shots of walking feet — may suggest that something deeper is going on:
Moreover, a certain interplay between movement and stasis seems intrinsic to the videopoetry genre. Archibald MacLeish’s justly famous “Ars Poetica” says that “a poem should be motionless in time,” which while hyperbolic does capture the essential stasis in much modern lyric poetry (including my own): “A poem should be palpable and mute / As a globed fruit,” states the opening line. By contrast, motion is the soul of film, and therefore I suggest that an unresolved tension between movement and stasis is the fundamental agon in poetry film, akin to the dynamic balance between life and death in any organism or ecosystem.
Date set for The Body Electric Poetry Film Festival
As just announced on their Facebook page,
The date is finally set. On Saturday May 4th 2013 at the Lyric Cinema Cafe in Fort Collins CO. The Body Electric Poetry Film Festival will come alive! So now you can tell everyone you know, to tell everyone they know about the what, where and when. Also, don’t forget we are still open for submissions.
Videopoetry classification: a Russian system
A Russian videopoetry classification scheme shows some interesting parallels with British and North American thinking about the hybrid genre, which — I’m guessing from the name of the site — is called Videopojezija (Видеопоэзия) in Russian. Since the site includes foreign as well as Russian videos, I assume their classification is meant to be universal, and as the closing note indicates, they welcome criticism and suggestions.
Here’s a Google translation of the page, amended to reflect the word choices in a summary at the Text in Art blog (which is how I learned about it). I’ve done my best to render Google’s amazingly good machine translation into something resembling idiomatic English, but this has invariably involved some guess-work since I don’t know any Russian. I invite Russian speakers to suggest corrections and improvements, and I’ll amend the post accordingly.
Classification
Depending on the purpose, videopoetry can be categorized in various ways: by content, by technical devices employed, on a territorial or chronological basis … Plus one can also add all the known classifications for each of the included arts and combinations of these. But in the synthesis of two arts there is at least one base, which describes the nature of communication of one art with another. Let’s try to identify this classification, and since it seems most interesting to the authors of this resource, it will form the basis for the structure of the site.
Note that in any art it is very difficult to strictly classify anything — there are too many variations, and our case is no exception, so any one videopoetic film or video can be assigned to multiple categories simultaneously.
So, in our view, taking the nature of the poetic text and the visual aspects into account, videopoetry should be divided into:
- documentary (dokumentalnaja)
The reader is at the center in this videopoetry type. It can move in a certain space, its image can be combined with other visual images or alternate them, but most importantly: reading is the main object of the image. It is very difficult to distinguish this case from a simple video-recording of poetry recitation. Usually videopoetic clips contain additional meanings introduced into the text by the video. Whereas simple video carries no additional imagery.
We think that such works can be called documentary because they contain a particular record, a real-life act of reading the poem.- textual (tekstograficheskaja)
In the center of the clip: the image of the written text. It can be superimposed on a shaped video sequence, can pass in a running line or move, as titles. May be reproduced in sign language or even as a physical object is made of a material and filmed. In this video a written text is always present in the frame. A feature of this species is that it can be free of audio or only contain music, without sounding text.
- illustrative (illjustrativnaja)
In these videos, visuals are almost a verbatim repetition of all the images of the poem. These clips are called “akin” (?) because they are made on a “what I see, I sing” basis. Technically, this method is embodied in different ways: through drawings or photos illustrating every word in a poem, or by picture-stories very similar to the plot of the work.
- conceptual (konceptualnaja)
Here the storyline visuals are associated with a poem on the level of ideas, while making it more meaningful. In the video and in the text of such a project, the different images used relate on an associative level. The video may contain a completely different reality than the ones described in the verse, but they look like an organic whole, complement each other, creating a new one.
- story/plot (sjuzhetnaja)
In this film, the poem itself is pushed to the background, giving way to a video scene. The sound of the text in this video may take even less than 50% of the duration. Usually, this is more like a video/short film containing poetic inserts.
- musical (muzykalnaja)
The focus of the film isn’t the poem, but the music to which it is put. Visuals are rhythmically linked to a greater extent with the music, part of what’s lost without words (?). These are close to music videos.
- visual (vizualnaja)
This is a special genre of videopoetic movies from which a poetic text is absent. Poetic quality in such videos is achieved by other means. Rhythm is present directly in the video.
This classification is not definitive. Constructive criticism and additions are welcome.
When using this classification, please refer to us.
Close readings/viewings at The Third Form
This month’s “Third Form” column by Erica Goss features close readings of three videopoems: Profile by R.W. Perkins, The City by Marie Silkeberg and Ghayath Almadhoun, and I-poem 6 by Pablo Lopez Jordan. A couple of snippets:
Jordan is a filmmaker, not a poet, but he states that “to use a poem as a script for a video is a great exercise of liberation. When you work with a poem, the structure is more open and increases the chances of experimentation.”
[…]
“I wanted to show little things from ordinary life; words make those insignificant things grow in importance,” Jordan said. The poem appears as text on fragments of torn paper at the bottom of the screen, where it becomes part of the visual collage of shadows, graffiti, trees and sky. Jordan writes that he stayed away from high definition for this video, preferring what he calls a “domestic camera.” This gives the video a handmade look, like that of a very well-done home movie. This was to honor the poem, which Jordan describes as “very emotional, bright and totally real.”
Event review of Alastair Cook’s “Absent Voices”
Writing for the Scottish Review of Books, Theresa Muñoz reviews a live screening and performance of Alastair Cook‘s “Absent Voices” series of filmpoems. Since I’ve never personally seen a filmpoem screening done in what might be called a karaoke-like fashion, with the poet present to read the text while live musicians performed the soundtrack, I was especially interested in hearing how well these videos worked in that context.
When folk read poems, images sparked from the narrative float through their minds. Alastair Cook’s own brand of Filmpoems, whereby the poet reads his work against a running 8mm or 16mm short film, provides the audience with a firm set of visuals. It’s an intriguing art form which both expands and contracts the poem’s possibilities, as the audience tries to thematically integrate the text with the established visuals of the film (and soundtrack). The majority of Cook’s Filmpoems are lush, evocative and dark creations filmed in the derelict sugar shacks on the James Watt Dock in Greenock.
Set in the Scottish Poetry Library’s cosy downstairs area, the setting was that of a makeshift cinema. A white screen hung from the high wall. A golden clarsach, later trilled by Rita Bradd, stood in the corner. Musician Luca Nasciuti was on hand to provide a haunting soundtrack. Cook began by describing how the batch of film poems came about. Commissioned by the arts collective Absent Voices, Cook asked seven poets to contribute a work: Gerard Rudolf, Jane McKie, Brian Johnstone, John Glenday, JL Williams and Sheree Mack. The poets were each given archived pictures of the sugar industry and watched a short film about the dilapidated buildings.
