Part IX of the 12 Moons videopoetry collaboration between Erica Goss (words), Marc Neys/Swoon (concept and directing), Kathy McTavish (music) and Nic Sebastian (voice). As usual, it debuted online at Atticus Review.
Neys described his editing process in a blog post:
I went back to the outstanding collection of IICADOM (‘International Institute for the Conservation, Archiving and Distribution of Other People’s Memories’) to look for the right footage. And I found some…
Kathy provided me with an alienating soundtrack, with Nic’s reading embedded, long enough to work with two parts in the visual storyline again.
Part one; a colourful look into the (safe &) settled world of an elderly couple in California. The outro is a black & white loop of two sisters walking down the stairs into their future. I like the contrast of these two lines and I love the way they react with the soundtrack.
Another innovative, harrowing videopoetry collaboration between Palestinian-Syrian poet Ghayath Almadhoun and Swedish poet Marie Silkeberg. This time the text and reading are Silkeberg’s, but they are both credited with the editing (“montage”) and camera work. Agneta Falk-Hirschman supplied the English translation. The music was “stolen from the Internet,” according to the credits, and the footage of the Syrian revolution is also “from the Internet.”
A one-minute videopoem that still somehow manages to seem very spacious. It’s the work of filmmaker Lori H. Ersolmaz, reader Michael Dickes, and poet James Reiss. The poem was first published in Esquire, and Dickes and Ersolmaz found it at The Poetry Storehouse.
A Moving Poems original, made with a text from The Poetry Storehouse, my own reading, some gorgeous free footage by Jeff at Beachfront B-Roll, and Creative Commons-licensed music by SonicSpiral*Selections s on SoundCloud. I must admit that this was a case of my falling in love with the footage first and then hunting for a poem to fit it (and the Poetry Storehouse archives are large enough now for that to work). But Traci Brimhall is a first-rate poet, and I’m very pleased I was able to work with one of her poems. Thanks also to Poets & Writers for sharing it on their video blog last week.
Like the other videopoems I’ve made lately, this has closed captioning, which can be turned on via the button on the bottom right. To see how Brimhall arranged it on the page, though, please refer to her page at the Storehouse.
A text from Sheila Packa’s new book Night Train Red Dust: Poems of the Iron Range.
These poems are about the Iron Range in Minnesota, the Vermilion Trail, and they are stories of travel and derailment about mining, radical politics, unionizing, accordion music and strong women. The book brings together history, geology and the community of people with iron in their veins.
Video artist and cellist Kathy McTavish, Packa’s regular collaborator, describes this as “a screen recording of a database driven web film,” and Packa talks about how that intersects with her writing style in a post at her blog:
I strive to re-create the flows of the northeastern Minnesota landscape, and I borrow metaphors that express the pattern of change in individual stories and narrative poems: the erosions, floods, migrations, lightning strikes, industrialization, excavation, mining, roads, and harbors. Night Train Red Dust will become part of a new transmedia media project, and I can’t wait to get started! [...]
My Geology is a poem that taught me how powerful is our landscape. I placed it first in my book, Night Train Red Dust. The places where we walk enter into us; in my case, as a child, I walked across the vein of iron and taconite on the Iron Range. There is an ASCII art image behind the video in My Geology that rotates on a near/far axis, evoking a map or contract or a train car. In this section, numbers were entered into the input box, and they cascade like taconite down a chute into the hold of a freighter. [...] The music used found sound (a soprano sax, both notes and the musician blowing air through the instrument) and cello by Kathy McTavish.
I’ve also been encountering the text incrementally in a dedicated Twitter feed, @nighttrainred — another example of Packa and McTavish’s interest in innovative technological reproductions of “flows.”