~ Matt Mullins ~

New Art Emerging: Notes from a Symposium on Videopoetry

Editors’ note: the symposium titled New Art Emerging: Two or Three Things One Should Know About Videopoetry took place on 5 November 2022 in Surrey, BC, Canada. It was convened by the renowned theorist of videopoetry, Tom Konyves, who also curated a related exhibition program, Poets with a Video Camera: Videopoetry 1980-2022. Valerie LeBlanc and Daniel H. Dugas were guest speakers at the symposium and kindly accepted our invitation to write an account to appear here at Moving Poems Magazine…

To start, instead of cutting the information down to fit, it might be easier to just start a new videopoetry blog. That is not a serious proposal, it is just that every videopoet holds the potential to write a book in a conversation and each videopoem is a complete story in itself. Writing a report from within is new for us and to begin, we admit that our comments must be somewhat biased.

The exhibition Poets with a Video Camera: Videopoetry 1980-2022 at the Surrey Art Gallery formed the base for the Symposium, as well as providing the impetus for Poems by Poetry Filmmakers, readings at Vancouver’s People’s Co-op Bookstore that were organized by Fiona Tinwei Lam, Vancouver’s Poet Laureate, 2022-2024 and the Symposium’s keynote speaker, Sarah Tremlett.

On Friday night, November 4, a major windstorm blew through the Lower Mainland with the City of Surrey being one of the hardest hit in the area. Large trees, weakened by months of drought, had been toppled, and on Saturday morning scores of BC Hydro customers were affected. Surrey was at the epicenter of the storm and the Gallery was without power but not powerless. Thanks to the quick action of Jordan Strom, Surrey Art Gallery’s Curator of Exhibitions and Collections, Rhys Edwards, Assistant Curator, and Zoe Yang, Curatorial Assistant, the symposium was efficiently moved to the Surrey Public Library, a stunning building in the City Centre. The schedule had to be retooled into a shorter program, but the room was packed and ready to see all the facets of this videopoetic diamond.

The symposium audience

To contextualize the place of the smposium it might be useful to have some information about the exhibition. From the gallery’s website:

Poets with a Video Camera presents the largest retrospective of videopoetry in Canada to date. The exhibition features over twenty-five works by some of the world’s leading practitioners. It is organized around five categories of videopoetry: kinetic text, visual text, sound text, performance, cin(e)poetry.

The title is a reference to Dziga Vertov’s 1929 film Man with a Movie Camera that has become iconic in experimental film discussions in advocating for a complete separation between the language of theatre and literature. Similarly, Konyves argues for videopoetry to be thought of as outside of poetry and video art. Instead, Konyves states that it is a form that is in its “early days . . . still in a process of redefining poetry for future generations.” This exhibition shows the humorous next to the serious, the experimental alongside the genre bending, the ironic with the sincere, and the timely together with the timeless expressions of this new form.

Jordan Strom opened the Symposium and introduced Guest Curator, Tom Konyves.

Tom Konyves

Tom stated his intention to provoke dialogue and to challenge perspectives. While developing a course in visual poetry for the University of the Fraser Valley, Abbotsford (2006), he had come to realize that he needed more sources for videopoetry than his own work. After contacting Heather Haley, she sent him 76 examples. From there, he came up with a definition of videopoetry that proposed a triptych of text, image, and sound in a poetic juxtaposition. He was able to further clarify his research findings in Buenos Aires when he met Argentinian artist Fernando García Delgado. Finally, Tom arrived at the idea that the role of the videopoet was that of juggler, visual artist, filmmaker, sound artist, and poet. He concluded that, within that mix, the videopoem as an art object, poetic experience, and metaphor, is created.

Sarah Tremlett

UK-based videopoet Sarah Tremlett delivered the symposium’s keynote speech in which she spoke about her definitive volume The Poetics of Poetry Film, as well as the importance of sound and subjectivity in an artist’s experimental audiovisual journey. Through her own work, as well as her contributions to the examination of poetry film, film poetry, and videopoetry, Sarah occupies a central place in the videopoetry world. While addressing the symposium, she also introduced her current work: research into a complex family history, spanning several centuries.

Heather Haley and Kurt Heintz spoke of their individual activities and collaborations in what is recognized as their history in the world of videopoetry. Their presentation, titled Entangled Threads: How One Canadian and One American Poet Took on Technology and Charted a Genre, proposed an engaging exchange on the shared commonality of early events linking not only poets in different geographic locations, but also text/voice to technologies. Among these commonalities was the early 1990’s Telepoetics project, a series of events using videophones to connect poets. As noted by Heather Haley on her website: “[…] before Skype or Zoom poets were using videophones to connect, to exchange verse, despite a myriad of limitations and challenges. […]”

Kurt Heintz and Heather Haley
Adeena Karasick

Poet, performer, essayist, media artist, professor, thinker Adeena Karasick, and artist-programmer, visual poet and essayist Jim Andrews delivered a high-powered and mesmerizing performance of Checking In, a work about our insatiable appetite for information. Jim’s coding meshed seamlessly with Adeena’s texts and her high-level acrobatics of spoken word and movement. Through the fusing of voice, text, and image, Jim’s video, and Adeena’s recitations/movements, the two delivered a performance that never missed a beat!

Founder and Director of the VideoBardo Festival, Javier Robledo (in absentia), planted himself onto a sofa and placed a bird cage on his head to present a playful performance/poetry mix. Reminiscent of early 20th-century Dada performances, he closed the performance when he blew a whistle that mimicked a caged bird. In his video presentation, and speaking about his work P-O-E-S-I-A, Javier spoke about the importance of the performative gesture and its repercussions in articulating meanings.

Javier Robledo
Matt Mullins

As Matt Mullins was also in absentia from the symposium, Tom provided an introduction to his work in the exhibition, as well as Matt’s own pre-recorded intervention about his creative process and the decisions made in the making of the three videos: Our Bodies (A Sinner’s Prayer), 2012; Semi Automatic Pantoum, a collaboration between Mullins and the Poetic Justice League of Chicago, 2019; and america, (i wanted to make you something beautiful but i failed), 2022.

When we spoke with Annie Frazier Henry a few days following the Symposium, she felt energized by taking part in the event. She is a writer with roots in theatre, music and film. In her presentation, she mentioned the influence that E. Pauline Johnson had on her growth. She generously expressed that the warm and safe space created by the meeting was about all of us. Grounded in her perspective, Annie talked about encouragement and relevancy. The words from her 1995 poem Visions resonate forward to the contemporary platform of videopoetry:

I don’t want to see stars in my eyes
I want to see stars in the sky,
Where they belong

When you enter a room
There’s invisible war paint on your face
And it looks good

Annie Frazier Henry

Fiona Tinwei Lam, the Vancouver Poet Laureate (2022-2024), presented The Plasticity of Poetry, a series of videopoems based on the dilemma of plastic pollution and its dizzying accumulation. Many of Fiona’s works are collaborative endeavours with animators. She also screened the work Neighborhood by Pamela Falkenberg and Jack Cochran which they state “is a look at modern life in the suburbs as the world courts climate disaster.” Neighborhood juxtaposes a poem by Fiona over live-action and animated scenes of suburbia. At the root of all of these works resides a deep desire to make a difference in the world.

Fiona Tinwei Lam

As for us, we presented Rust Never Sleeps: Nuances in Collaborative Creation, a talk on collaborations and the diverse ways that we have collaborated while continuing to each work on our own individual projects. Collaboration begins with a discussion, and that exchange frames the outcome of any project. It is a shared authorship and to work in such a way, one must be ready to let go of preconceived ideas and to be ready for whatever might arise.

Valerie LeBlanc and Daniel H. Dugas


To accommodate the time frame for the venue afforded by the library, the Q&A was pushed to the end of the day. One member of the audience, Surrey-based poet Brian Mohr, has a story worth mentioning. When he showed up at the gallery to see the exhibition on Saturday morning after the storm, he was redirected to the library. He knew about the exhibition but not about the symposium. Brian, who is in the process of making his first videopoem, went with the flow and ended up participating in the event. He had a question for the panel about using video games as source locations for videopoetry. Several presenters addressed his question and according to discussions we had with him later, the symposium gathering was of utmost importance to his development as a videopoet.

Just as Jordan Strom finished his closing remarks, a loudspeaker announcement resonated through the building: “The library will be closing in five minutes!” Videopoetry is all about timing, and so was the conclusion of the symposium.

A symposium is designed to bring together, a group of people with common interests. When they come away from the meeting, they should have learned something new, made new connections, and should have possibly established the grounds for future collaborations. The Surrey Symposium made visible a complex web of relations and affinities between videopoets. It revealed the contour of a community of artists/poets, and affirmed that we are not isolated, that we are not living in a vacuum; that we have a place in the world. This sentiment was echoed in a comment that Kurt Heintz wrote on an email thread after the Symposium:

While I have long been aware that I’m not the only person doing what I do, I’ve often felt quite solitary. And so, one of the biggest takeaways for me is simply having experienced a critical mass of minds, if only for a weekend. Certainly, we’re all very different people with different perspectives on the art we make and/or study. Our critical languages often differ. And we’re far-flung; the exhibit plainly speaks to the international origins for poetry in cinematic form. And yet, that very mix is what actually pointed to a body politic.

This symposium answered some questions surrounding the creation of videopoetry. It also made it clear that videopoetry operates on many different levels of consciousness. The event accomplished its mission, and if there might be an idea to improve upon the gatherings, it might be to increase the meeting to a full day, which would allow more time for Q&A as well as informal discussions. A dream would be to have a bi-annual videopoetry symposium.

From the art gallery to the library, this symposium managed to bridge two of the fundamental sites of videopoetry: visuals and words. The voices that we heard on that afternoon were the third element — a perfect poetic juxtaposition.

Seated left to right: Adeena Karasick, Fiona Tinwei Lam, Jim Andrews, Annie Frazier Henry, Jordan Strom
Second row: Kurt Heintz, Sarah Tremlett, Heather Haley, Valerie LeBlanc, Daniel H. Dugas, Tom Konyves

Photos: Pardeep Singh

The Juteback Poetry Film Festival 2018: a review and compilation

The power and importance of curation is once again demonstrated by the eclectic and compelling selections included in the 2018 Juteback Poetry Film Festival, which was held at the Wolverine Farm Publishing’s Letterpress and Publick House in Ft. Collins, CO on Friday, October 19, 2018. Organizers R.W. Perkins (poet, writer, and filmmaker from Loveland, CO) and Matt Mullins (writer, musician, experimental filmmaker, and multimedia artist who teaches creative writing at Ball State University and is the mixed media editor of Atticus Review) have put together a program that surveys the breadth and depth of film poetry rather than attempting to construct or validate some narrow canon. From animated calligraphy to found footage, from flicker film techniques to metamorphosing animation, from abstracting digital layering to Hollywood narrative techniques, from dreamlike transitions and juxtapositions to post-apocalyptic mise-en-scene, from beauty in a broken world to cultural and political critique, from digital image fracturing and recombination to stark, off-balance, black-and-white compositions harking back to Man Ray, from silent film techniques to spoken word poetry, from digital remixing to music video techniques, and from preschool poets to poetic giants from the past to unpublished poets who are also filmmakers, the selections survey the state of video poetry and yet reflect the tastes and inclinations of Perkins and Mullins, who hopefully will keep this festival going for years to come.

One interesting feature of Juteback 2018 was live poetry readings by the 2018 poet laureate of Ft. Collins, Natalie Giarratano, and 2013 Ft. Collins poet laureate, Jason Hardung. If you don’t know them, both of them are poets worth exploring.

Also worth mentioning is that both Perkins and Mullins each showed one of their own poetry films to open the festival, in order to demonstrate that they are poetry film practitioners as well as curators. Perkins’ film is Visions of Snow, and Mullins’ film is One/Another.

As Perkins noted in his closing comments, most of the films in the festival are available openly, and he encouraged the festival audience to share what they liked as widely as possible. With that in mind, here are links to the poetry films (where possible), and to trailers for the films or links to the filmmakers’ websites (where the films themselves could not be found).

Perkins and Mullins are seeking to expand the audience for the Juteback Poetry Film Festival. If anyone has any suggestions, you can contact them.

(Full disclosure: Pamela Falkenberg and Jack Cochran’s The Names of Trees was one of the poetry films included in the 2018 Juteback Poetry Film Festival.)

Carolyn Rumley
One Step Away


Rita Mae Reese
Alphabet Conspiracy


Jutta Pryor
Poet Matt Dennison
The Bird


Cindy St. Onge
My Lover’s Pretty Mouth


Ellen Hemphill and Jim Haverkamp
Poet Marc Zegans
The Danger Meditations


Kate Sweeney
Poet Anna Woodford


Mohammad Enamul and Haque Kha
Poet Sadi Taif
A Vagabond Wind

(this is a 50-second trailer for the film poem)


Pam Falkenberg and Jack Cochran
Poet Lucy English
The Names of Trees


Marie Craven
Poet Matt Hetherington
Light Ghazal


Dan Douglas
Poet Paul Summers
Bun Stop



Vivek Jain
Poet Kirti Pherwani
I Don’t Know



Mark Niehus


Eduardo Yagüe
Poet Samuel Beckett
Qué Palabra


Eliot Michl
Don’t Tell Me I’m Beautiful


Gilbert Sevigny
Poet Jean Coulombe
Au Jardin Bleu (In the Blue Garden)


Lisa Seidenberg
Poet Gertrude Stein


Merissa Victor
Poet Angelica Poversky
The Entropy of Forgiveness


Kathryn Darnell
Poet Bertolt Brecht
Motto: A Poem by Bertolt Brecht
Visit her Vimeo page, where you can watch 14 videos using similar animated calligraphy techniques, though Motto is not among them.


Kidst Ayalew Abebe
Poet Femi Bájúlayé


A. D. Cooper
Home to the Hangers

(this is a 48 second trailer for the 5-minute film, which is behind a password to protect its film festival qualifications)


Luna Ontenegro, Ginés Olivares, and Adrian Fisher (mmmmmfilms collective)
Fatal When They Touch
Visit the collective’s webpage for the film (which does not include the film itself).


Jane Glennie
Poet Brittani Sonnenberg
Coyote Wedding


Nancy Kangas
Preschool Poets: An Animated Series
Visit the Vimeo page for the Preschool Poets project, which has the eight films compiled for Juteback, as well as some behind-the-scenes video.


Steven Fox
There’s a Facebook page for the local actor and filmmaker, but there does not seem to be any online link to the film.


(Special screening)

Juteback Poetry Film Festival 2017 announces new date, location

Juteback Productions announced two days ago on Instagram and Facebook that this year’s festival has been re-scheduled for June 23 at 7:00 PM at the Wolverine Farm Publishing’s Letterpress & Publick House, Fort Collins, Colorado (USA). It had originally been scheduled for May 20. Advanced tickets aren’t necessary, according to the web page.

JPFF is the continuation of the Body Electric Poetry Film Festival from a few years back, with the original director, R.W. Perkins, sharing the programming duties with Matt Mullins. No word yet on their selections.

Call for Entries: Juteback Poetry Film Festival 2017

Juteback Poetry Film Festival poster

The late, lamented Body Electric Poetry Film Festival is back with a new name! The Juteback Poetry Film Festival will take place on May 20th at the Lyric Cinema Cafe in Fort Collins, Colorado. Festival director R.W. Perkins will collaborate with Matt Mullins to program the festival. They note:

At the Juteback Poetry Film Festival we are looking for innovative and technically sound filmmaking, coupled with a strong grasp of poetics. It is our hope to showcase a wide range of talented film-poets from around the world to best represent the budding art form of videopoetry.

Submit online through the website. I’ll paste in the instructions:


  • All films must be submitted online. Please use the form below to complete your submission. To submit please load your film to Youtube, Vimeo or media sharing site of your choice, then provide the link in your submission. If you choose to use a privacy setting on either Youtube or Vimeo please be sure to provide us with a proper access code to view your film.
  •  All films must be completed before the deadline of April. 16th, 2017. As long as your film has been completed before the April 16th deadline please feel free to submit.
  •  All non-English films must have English sub-titles.
  •  All films selected for the festival grant Juteback Productions, LLC the rights to use all video images and press materials from the film for promotional purposes.
  •  Juteback Productions, LLC is permitted to retain copies of each film selected as part of our festival library and for media educational use.
  •  You may submit more than one film, please repeat process for each entry.
  • Films must be no more than 15 minutes in duration.

Submit here. And follow the festival on Facebook and Twitter.

Call for submissions: Atticus Review

The Mixed Media section of the Atticus Review seeks videopoems/filmpoems/cinepoems and short or experimental films of all lengths, shapes, sizes and types. We’re also interested in remixes, mashups and interactive/digital literature. Submissions can be sent via the submission manager at the Atticus Review.

Feel free to contact Mixed Media Editor Matt Mullins at m-mull@hotmail.com if you have any questions or queries.

The Art of Poetry Film with Cheryl Gross: “Highway Coda”

Highway Coda by Matt Mullins (Mull)
Poem and video by Matt Mullins
Music by Michael Pounds

I usually look for collaborations between a video artist and poet, but in the case of Highway Coda, the poet Matt Mullins wears both hats. The visuals are a perfect setting for his poetry. The music by Michael Pounds complements the splendor of this piece. That is the actual partnership. It’s a wonderful soundtrack that takes an otherwise mundane journey and turns it into an adventure, allowing us to visit the past by way of entering lost time.

Concerning the video, the burn filter that Matt applies along with sound effects throws the viewer into a mid-20th-century atmosphere, very cool and nostalgic. The use of looping and reversing of the driving section of the video follows the poem perfectly, thus causing the rhythm of the piece to be emotionally disquieting yet engaging.

I love the unconventional visuals such as garbage and abandoned cars that the poet uses to symbolize icons and landmarks. A good example is the Chinese food container that was taken away by a crow. At first I was confused as to why he chose to show us wings and the crow. But when it’s explained that the crow took the container, realistically it makes perfect sense and adds a bit of humor. This is exactly what a scavenger would do, pick garbage and hold it in high regard as if it found a pot of gold.

There is a part of me that wants to know where the artist is driving, but then I ask myself does it really matter? He may just be coming or going from someplace routine. The impression I get from the video is that the artist resides in and identifies with the past. That’s his perception of life. This to me is what On The Road would look like if were made into a video poem.

Editor’s note: “The Art of Poetry Film” will be on hiatus for a week or two as Cheryl begin a three-month artist’s residency in Heidelberg, but she assures us she’ll still have time to write columns once she settles in, so filmmakers and videopoets may continue to contact her with suggestions of collaborative projects to review.

Call for videopoetry submissions: Atticus Review

Writer and videopoet Matt Mullins asked me to share this call-out:

The Atticus Review, an online literary/mixed media magazine, seeks filmpoems/videopoems of between one and eight minutes in length for publication. You can submit via Submittable at the Atticus Review website, or you can email mixed media editor Matt Mullins directly at m-mull at hotmail dot com.

New Third Form, Swoon’s View columns

September’s edition of “The Third Form,” Erica Goss’ column on videopoetry at Connotation Press, features interviews with two people whose work I’ve been following for a long time. Yorkshire poet Gaia Holmes (Moving Poems archive) was among the first poets to have her work animated for Comma Press back in 2006, and she’s been a consistent favorite of British poetry filmmakers over the years — a good example of how emerging poets or those from outside the establishment can get a big boost in visibility by letting their works be adapted for film.

“I don’t have any say about the videos,” she said. “I’m not involved in their making. I go to the screening and there’s the poem, but I’m happy it turns out that way. When a poem is out in the world, it’s open to anyone’s interpretation. For example, the video for ‘Occasional China’ takes the poem in a completely different direction from what I imagined.”

In the the second half of her column, Goss talks with American poet, filmmaker and digital literature expert Matt Mullins (Moving Poems archive), whose work first caught my eye back in 2009 — the year he discovered videopoetry, it turns out. The interview focuses on a series of three films he’s made collaboratively with the Belgian filmmaker Swoon (Marc Neys).

“I gave Matt several videos with music and said he could re-edit them, add new music, combine as he saw fit,” Swoon said. “The videos I sent Matt were finished products and/or experiments that were not properly used before. They might have never seen daylight if it wasn’t for Matt’s vision and creativity to breathe a new and different life into them.”

Click through for the full interviews and to watch the films.

Speaking of Swoon, I was pleased to see another installment of his column on videopoetry, as well. This month at Awkword Paper Cut he examines “The ephemeral worlds of Sandra Salter & Benedict Newbery,” a British animator-poet team who have made two films so far, both striking for their use of watercolor and a certain quality which Neys characterizes as “simple and naïve, almost. But … rich and … full of life.” As usual with a “Swoon’s View” column, his experience and insider perspective is invaluable, e.g.:

I’ve seen this video on different occasions, in different venues. On large screens, on small screens. It never fails, never disappoints. I rarely saw an animated video that came this close to imitating real life, yet not looking like it.

These videos prove that big budgets are not always needed to deliver fantastic work. A warm love for the words, intelligent use of sources and a playful feel for rhythm and illustration can do so much more than money.

Read the rest.

New videopoetry-related links: “Swoon’s View” at Awkword Paper Cut and more

I had heard that Swoon (AKA Marc Neys), the fantastically productive Belgian filmmaker and musician, was the new videopoetry editor at Awkword Paper Cut. What I didn’t realize was that he’d be writing a monthly column on videopoetry for the magazine. “Swoon’s View” debuts with a feature on Matt Mullins, in which Marc introduces each of two videos with his own comments, and then follows up with some process notes by the author/filmmaker. The design is very readable, with bios both for the featured filmmaker and for Marc, and ample links. The header itself links off-site to the new Swoon website, which is a little unexpected but shows the kind of generosity I’ve begun to associate with this young journal.

If this month’s column is any indication, “Swoon’s View” should become as essential a resource for fans of videopoetry/filmpoetry/cinepoetry as Erica Goss’s column in Connotation Press. This month, Erica looks at videopoems that do double-duty as book trailers, a subject of particular interest to me as I’m in the midst of producing a series of videos in support of a new chapbook of my own. It’s one way in which poetry publishers are beginning to think outside the print box, as poet and rabbi Rachel Barenblat explained this week in a guest post at The Best American Poetry blog, “Collaboration and remix.” She quotes Nic S. to good effect:

There is so much that technology has brought to the poetry equation – not just by connecting people & poetry and poets & artists who weren’t connected to each other before, but by changing both the face and the delivery of poetry itself. Poems locked up in hard-copy print editions only available for sale are struggling in new and more serious ways, while poems delivered in multiple creative ways online have new leases on life and are reaching an ever-widening audience.

I know I don’t always get around to publishing videopoetry news notes here, but if you’re active on Twitter, you can follow us @moving_poems, where I’ve taken to sharing or re-tweeting these very sorts of things on a fairly regular basis.

Some thoughts on collage videopoetry

Over at Via Negativa, I shared a new videopoem I made on a whim last night. This morning I added some process notes, which led to a few further reflections of possible interest to writers and poetry teachers looking for an easy way to get into videopoeming. First, the video:

Watch on Vimeo.

I made this videopoem entirely out of found text and footage from American television commercials of the late 1940s and early 50s. I’ve been intrigued by the possibilities of collage in videopoetry ever since I saw what Matt Mullins did with a sermon by Oral Roberts in Our Bodies (A Sinner’s Prayer). This doesn’t rise quite to that level, either technically or conceptually, but it was a fun experiment. Thanks to the Prelinger Archives for the material, all in the public domain.

Process notes: I’ve been downloading compilations of old television commercials for possible use in videos for poems from the new chapbook. While making poetry videos for pre-existing texts is fun, it’s easy to get sidetracked by a wealth of good material, and yesterday I decided to give in to the temptation. I went through one of the compilations, writing down all the good lines in a text document, in order as they appeared so I could re-find them easily. Then I wrote a rough draft with some of the most interesting lines, loaded the source material into Windows Movie Maker and began to cut and paste the snippets containing the lines I’d liked into the order I’d put them in the written draft. Once I had fully assembled the first rough draft of a videopoem, however, I found the words went by rather too quickly. I had the idea of using wordless or nearly wordless segments from a single ad both to give space to the lines of found poetry and to act as a sort of refrain.

At this stage, the working title was “Industry at Work” (taken from a clip that I subsequently removed). However, after a couple of hours of trimming and moving things around, it became clear that the refrain segments just weren’t gelling, and the video overall seemed too scattered and miscellaneous. I began looking at another compilation, and the very first ad in it — a commercial for Budweiser — had lots of wordless footage that I liked. It was only after pasting some of those segments into the draft project that I got the idea of using the first half of Budweiser’s then-slogan, “Where there’s life, there’s Bud,” as title and refrain.

I go into all this (hopefully not too boring) detail simply to show that the process of composition doesn’t differ all that wildly from the way regular poems are made. If I were teaching poetry, this is the sort of thing I’d make beginning students do. Of all the possible approaches to videopoetry, found-poem collage with public-domain (or otherwise free-to-use) footage has the lowest barrier to entry. All you really need is a computer with a DSL or faster connection and whatever video editing software the operating system came with. Moreover, this way of making videopoems comes much closer than the typical poetry video to Tom Konyves’ conception of videopoety as

the Duchampian “assisted readymade”. Consider the recorded image as the readymade; the function of the videopoet is to discover whether there exists something significant, yet still incomplete, a collaborative property beneath the surface of the present moment.

Two-part interview with “ambassador of cinepoetry” George Aguilar in the Atticus Review

This is not to be missed: Matt Mullins interviews George Aguilar at Atticus Review: Part 1 and Part 2. From Part 1, here’s Aguilar’s take on what makes a compelling videopoem:

The core elements I find most compelling are works that are multi-layered both visually and poetically. They usually feel experimental yet are supported by an expert sense of editing, sound, timing and tone. These types of works draw me in deeply and often leave me wondering what I just saw but also wanting to see it again. Sometimes I don’t get the full meaning of the work until after I’ve watched it a few dozen times. Even then, I still might feel there is something else new to catch the next time I see it. Of course the viewing of it over and over again feels “joyous” even though it hasn’t changed. Isn’t that the essence of the poetic? I also enjoy works that exude a sense of passion and inspiration, whether it is dark or light-hearted.

The breadth and depth of Aguilar’s understanding of cinepoetry/videopoetry and its historical origins are impressive. I’ll be sure to share some of the films he recommends at Moving Poems in the coming weeks.