1. Using text vs voice in videopoems

Nic Sebastian’s thoughtful blog post responded to a point in Tom Konyves’ Videopoetry: A Manifesto about the use of visual text, and Tom stopped by to clarify what he meant in the comments. A fascinating conversation ensued.

2. Visible Verse Festival 2011 • Art or Entertainment; do I really have to choose?

Heather Haley, organizer of the Visible Verse festival in Vancouver (which I hope all Moving Poems followers from the Pacific northwest will be attending this weekend!), shares a bit of her thinking behind the festival in particular and the genre in general at her blog One Life.

Videopoetry or poetry video. Film or video? And then there is cinema to consider. I find semantics tedious. My reaction to the insistence there be a formal definition of the genre, is, why? Don’t we have enough divides? We live in the age of the mashup. Isn’t that merging? Fusion? Transformation? In any case, I have faith in the poet’s ability to render his or her poem. Via video or film, a poet will explore, push the boundaries of image, language and sound. Whether it’s illustrative or conceptual, I trust the poet to make choices, to create a work according to his individual style and sensibilities. Vision. While I can’t abide cliché or literal translations, surely there’s room for both narrative and non-narrative treatments. One man’s execution is another man’s experiment. One man’s amusement is another man’s pith.

3. “Friday Film and Video Poem” series at Rubies in Crystal

Aside from a scattering of brief, general essays and blog posts, plus occasional process notes from videopoets, there’s been an almost total lack of meaningful literary/film criticism of videopoetry and related genres focusing on individual films and artists. Brenda Clews has begun to fill this void with a weekly series at her blog.

• A Hundred and Forty Suns by Jonathan Blair
  

  After the Kafkaesque beginning with insect-like noises that become a mechanical factory of looped wheels and cogs, the organic sound of drumming as the light increases is warm, comforting. And the light is shining, shining into the perception of the animated character who responds with joy, and into the screen where we as viewers feel that pleasure. Ultimately this film imparts joy, beauty, forgiveness, transcendence, the pulse of life renewed anew.

• ‘immersion /2′ by Sheila Packa and Kathy McTavish
  

  Unlike traditional Bokeh, there is no foreground subject. Rather we are immersed in an ever-shifting slow-moving background. It is as if she composes abstract expressionist artwork before our eyes, painting with light and colour.

• ‘Ground’ by Ginnetta Correli
  

  Ground is hauntingly beautiful, in a disturbing way. In the embracing mindfulness, a poetry of poison, death, loss, and beauty, all of which is natural, found in the natural world, amidst a surreality. We feel cross-currents, disambiguations, and yet the over-arching journey metaphor of Cook’s minimalist poetry, and the bond of love he speaks of, yes, living is like this. Simply a superb film.

• ‘SHED’ by Christina McPhee
  

  I consider SHED a genre-crossing piece that brings together a poetry of drawing and video editing. It is a multiplicity, a place of vectors. The nodes and intensities are democratic, without hierarchy; they are nomads drawn into being by the brush of India and acrylic ink and red paint encrusted on the paper by the artist.

2011 VISIBLE VERSE FESTIVAL
Call for Entries and Official Guidelines:

• VVF seeks videopoems, with a 15 minutes maximum duration.
• Either official language of Canada is acceptable, though if the video is in French, an English-dubbed or-subtitled version is required. Videos may originate in any part of the world.
• Works will be judged by their innovation, cohesion and literary merit. The ideal videopoem is a wedding of word and image, the voice seen as well as heard.
• Please, do not send documentaries as they are outside the featured genre.
• Videopoem producers should provide a brief bio, full name, and contact information in a cover letter. There is no official application form nor entry fee.

DEADLINE: Sept. 1, 2011

• Send, at your own risk, videopoems and poetry films/preview copies (which cannot be returned) in DVD NTSC format to: VISIBLE VERSE c/o Pacific Cinémathèque, 200-1131 Howe Street, Vancouver, BC, V6Z 2L7, Canada. Selected artists will be notified and receive a standard screening fee. For more information contact Heather Haley at: hshaley@emspace.com

Send, at your own risk, videopoems and poetry films/preview copies (which cannot be returned) in DVD NTSC format to: VISIBLE VERSE c/o Pacific Cinémathèque, 200-1131 Howe Street, Vancouver, BC, V6Z 2L7, Canada. Selected artists will be notified and receive a standard screening fee.

For more information contact host and curator Heather Haley at hshaley[at]emspace[dot]com or visit the website.

Friday night’s Vancouver Videopoem Festival 1999-2002 retrospective screening was the biggest challenge as we had to mediate the clunkiest and oldest formats: ¾ inch tape and beta. I rolled up my sleeves and got down to business around 9 AM. At 6, PC Art Director Steve Chow expressed shock that I was still there. “Real time, my man!” I said. “No way around it. And remind me never to do this ever again.” It was nerve wracking!

Read the rest.

SEE THE VOICE – Visible Verse 10th Anniversary Celebration & Festival Call for Entries and Official Guidelines

Please send in your videopoem by Sept. 1, 2010.

• Visible Verse seeks videopoems, with a 15 minutes maximum duration.
• Either official language of Canada is acceptable, though if the video is in French, an English-dubbed or -subtitled version is required for consideration. Videos may originate in any part of the world.
• Works will be judged by their innovation, cohesion and literary merit. The ideal videopoem is a wedding of word and image, the voice seen as well as heard.
• Please, do not send documentaries as they are outside the featured genre.
• Videopoem producers should provide a brief bio, full name, and contact information in a cover letter. There is no official application form nor entry fee.

Send, at your own risk, videopoems and poetry films/preview copies (which cannot be returned) in DVD NTSC format to: VISIBLE VERSE c/o Pacific Cinémathèque, 200-1131 Howe Street, Vancouver, BC, V6Z 2L7, Canada. Selected artists will be notified and receive a standard screening fee.
For more information, see below, or contact Heather Haley at: hshaley@emspace.com

In 1999 the Vancouver Videopoem Festival, the first of its kind in Canada, began as an effort of the Edgewise ElectroLit Centre, a non-profit literary arts organization dedicated to expanding the reach of poetry through new media with programs such as Telepoetics Vancouver and the Edgewise Café electronic magazine. The VVF became critically regarded owing to its progressive regard for spoken word in cinema, presenting poets both in performance and on the big screen. The audience could explore the merits and distinctions of poetry rendered in these two forms, stage and screen, sparking new dialogue as to the essential nature of poetry. The festival then built upon that foundation, with widened explorations into poetry cinema across national frontiers. They presented significant new works from Europe and the Americas, and continued to offer Canadian audiences a remarkably broad selection of new videopoems from their own country.

Pacific Cinémathèque has been the VVF’s partner since 2000 and throughout the dissolution of the Edgewise. Founder Heather Haley continues to provide a sustaining venue for the presentation of new and artistically significant videopoetry as host and curator of SEE THE VOICE: Visible Verse. And owing to Vancouver’s strength in the film and television production industries, Haley has been able to cultivate critical interest between filmmakers and poets, with positive consequences for both.

To celebrate entering their second decade of showcasing videopoetry, Haley and the Pacific Cinémathèque are presenting two screenings this year as well as poetry performances, a panel discussion and an awards gala, Friday Nov. 19 and Saturday Nov. 20.