~ Bath Spa University ~

Call for Papers and Presentations: MIX 2021

Via their website:

Are you interested in the future of content publishing? Are you a writer, artist, technologist or researcher engaged in finding new ways to tell stories to new audiences? Are you keen to hear from people working across books, digital, sound, video, AR, VR, and games? MIX 2021 offers an opportunity to join us as we think about the future of content creation and publishing.

MIX is a four-day virtual conference that explores the intersection of writing and technology, bringing together people from around the world to make, think and talk. We are looking for writers, artists, practitioners, researchers and creative technologists to share their projects, research and practice through papers or presentations.

After the success of the last five MIX conferences, held across our Bath Spa University campuses, the conference returns in a fully virtual form with an increased focus on making alongside two of our other favourite activities, thinking and talking. We will be hosting two days of making on Saturday 3rd July and Sunday 4th July followed by two days of papers, presentations and discussions on Monday 5th July and Tues 6th July. This includes poetry film screenings on the theme of Amplified Voices curated by Adrian B Earle from Think/Write/Fly and Sarah Tremlett from Liberated Words.

Read the rest.

Review of Poetry Film screening at the MIX conference

Bath Spa University, July 2017

 MIX 2017 poetry films programme cover

Revolution, Regeneration, Reflections. These were the themes chosen for the MIX 2017 conference to celebrate the human capacity for renewal and experimentation combined with deep thought and to look at where creative writing, storytelling, and media creation intersect with and/or are dependent upon technology. The programme featured a mix of academic papers, practitioner presentations, seminars, keynotes, discussions, workshops and poetry film screenings.

Artists/poets and digital writers were asked to submit poetry films/film poems/video poetry responding to these themes. Nineteen poetry films from the international submissions received were screened throughout the duration of the conference.

The selection was curated by Lucy English, Reader in Creative Writing at Bath Spa University and co-founder of Liberated Words, and Zata Banks, founder of PoetryFilm, an influential research arts project and film screening series.

I wondered if the themes of revolution, regeneration and reflections were too optimistic in theme. Perhaps war, power, consumerism, genocide, apocalypse, violence and chaos are nearer to what governs our thoughts at present.

Some of the poetry films covered predictable ground: love, word play, abstracts and introspection. Other films braved the realms of suicide, oppression, humour and sustainability. Some were cleverly and/or beautifully designed, others revealed their workings (you almost saw the filmmaker at work).

The curation itself was expertly put together. The viewer could watch to the end without feeling bombarded or overwhelmed, while at the same time feeling they had traveled; a journey which was troubling at times, more re-assuring at the end. We were taken from political marginalisation and resistance to universal sustainability in 19 films.

The first film, If We Must Die by Othneil Smith, used imagery from a 1970s Blaxploitation film to highlight resistance and a 1919 sonnet written in response to attacks on African-American communities, and began:

If we must die, let it not be like hogs
Hunted and penned in an inglorious spot,
While round us bark the mad and hungry dogs,
Making their mock at our accursed lot.

The last film, Kate Flaherty’s A Mouse’s Prayer, with a delicate voice and a mouse’s prayer to the moon, ended:

O moon, you see me
when others do not,
you know my brown fur’s sheen,
and you reflect for me
my own great smallness
in your immensely
dark and speckled sky.

At the end of the first film and the beginning of the last film, the viewer literally looked into someone’s face. This created an intimate space, connected the viewer to the personal and forged the link between responsibility and hope.

Whilst I watched, I kept thinking: this is a poet’s curation (but then, what is a poetry film if it’s not poetry?). There were no long distracting pages of seemingly endless credits, no words were trying to compete with images and there were no excessive soundtracks. Almost all the films selected had near equal elements of sound, image and text.

Selecting for a poetry film curation isn’t just about choosing the best films submitted. The films need to sit alongside one another to flow, illuminate, juxtapose — the whole should be greater than the sum of its parts.

I was able to recognize Zata’s experimental film choices that invited us to focus on semiotics. The meaning making systems in the elements that make up the films (sound, movement, etc). In Matthew Griffith’s Pain in Colour, we were asked to find meaning through colour, movement and sound but with no words.

But can you have a poem without words? I’m not sure. But I know you can have a ‘poetic experience’ and Pain in Colour offered up its own meanings within the whole curation. I’m not sure it would have done so on its own. I would prefer to see it in a gallery space, where I may be less self-conscious of finding a specific context and meaning.

The territory of poetry film is still being mapped. And as I watched the films the nagging question hanging in the mainly empty auditorium was ‘What is poetry film?’ The curation didn’t direct me to the answer. But it led me to wonder if poetry film needs to be more confident in embracing its own genres (whether that is seen as another type of art film or an entirely new genre of poetry), and then we may be nearer to developing clearer analytical language and critical discourses.

In the middle of the curation, the background evangelist in Cindy St. Onge’s Road to Damascus and the end line in Dave Bonta’s Grassland, “I’ll break like bread at your table”, gave a jolt toward the anxieties of faith and a hope for something more, and was a reminder that the curation was a journey from resistance to sustainability.

Angie Bogachenko’s version of Oracle of a Found Shoe and the collaboration between Cheryl Gross and Lucy English, Shop, both animations, demonstrated that animation works when the images and words work together, where you can’t see the seam between the two. Both showed the strength of the poem and the skill of the animator.

I noted that 11 of the 19 films, by nature of the poem or the choice of presentation, had a strong performance element. This reflects the balance of new work that I have seen emerging elsewhere. Poetry film is an ideal medium to embody spoken word poetry, and as a genre I think it will bring an immediate and urgent contribution to the field.

By design or chance, the curation at MIX 2017 brought a rhythm, line by line, film by film, that on a large scale was sustained to the end. The themes created a forward momentum — and that reflects the journey of poetry film itself.

Call for poetry films: MIX 2017 conference

conference banner

Bath Spa University’s bucolic Newton Park campus may seem an unlikely venue for an important international conference on writing and technology, but apparently it has “the best specialist digital and studio resources for teaching in the South West [U.K.] – equal to anything found in top commercial organisations and broadcast companies.” The MIX 2017 conference sounds truly interdisciplinary, with “a vibrant mix of academic papers, practitioner presentations, seminars, keynotes, discussions and workshops. Alongside scholars and researchers, artists, creative writers and creative technologists interested in literary forms are welcome to submit proposals.” More to the point for our interests, the organizers have issued a special call for poetry films.





The themes for this year’s conference are revolutions, regenerations, reflections. We would like to encourage artists/poets and digital writers to submit poetry films/ film poems/video poetry to be screened during MIX in our Viewing Theatre at Newton Park campus. Poetry films/ film poems/ video poetry is an emerging genre that fuses the use of spoken-word poetry, visual images, and sound to create a stronger representation and interpretation of the meaning being conveyed.



Short films should be submitted via email using a direct link to Youtube, Vimeo or an open link to Dropbox or WeTransfer. The email subject line should read ‘Your Name; Poetry Film Submission’ and the body of the email should include a 50-word description of the film.

Maximum 2 submissions per artist, these can be sent in the same email. This email should be sent to mix@bathspa.ac.uk by Wednesday 1st March.

The films will be selected and curated by Lucy English, Reader in Creative Writing at Bath Spa University, and Zata Banks (founder of PoetryFilm research art project https://poetryfilm.org)



4K HD projector and 5.1 surround sound



  • Poetry films/ film poems/ video poetry up to 3 minutes.
  • Submitted via email using a direct link to Youtube, Vimeo or an open link to Dropbox or WeTransfer.
  • Email subject: ‘Your Name; Poetry Film Submission’; and the body of the email should include a 50-word description of the film.
  • No more than 2 submissions per artist, these can be sent in the same email.
  • Films must relate in some way to the conference’s themes: Revolutions, Regenerations and Reflections.
  • English language or with English language subtitles.
  • Deadline: Wednesday 1st March 2017.


If you would like to attend the conference please click on the ‘Bookings’ tab.

Poetry film workshop in Bristol, 14-15 October

Bath Spa University is sponsoring a Liberated Words Two-Day Poetry Film Festival, led by the accomplished filmpoem makers Chaucer Cameron and Helen Dewbery. Here’s the Facebook event description:

The workshop is generously sponsored by Bath Spa University so the cost is just £10

Booking: to reserve a place contact Chaucer by email: chaucer.cameron@gmail.com

The workshop covers:

  • understanding what poetry film is or can be
  • viewing poetry films from around the world
  • knowing where to find still and moving images
  • creating images and film yourself
  • where to find music and sound or get it made
  • putting it all together
  • where to send/show finished work

We will finish day one of the workshop making a group poetry film together. On day two, with support and collaboration, you will have the opportunity to make a poetry film of your own. We will include using archive material, still images and moving film, and using words on the screen and voiceovers. You will be encouraged to bring your own ideas and skills, and push into new realms of what poetry and poetry film can be.

It is useful, but not essential, for you to bring a laptop, and camera or mobile phone capable of taking video. If you do not have a laptop you will not be able to make your own poetry film on the day – but there is still plenty you can learn and experience – so don’t let that put you off.

An practical online handbook is available for all participants.
Please bring a packed lunch. Coffee, tea and snacks are available in the YHA café.

The workshop will be held October 14 – October 15 in the conference room, YHA Bristol, The Grain House, 14 Narrow Quay, Bristol BS1 4QA. See Facebook for more information.