The astounding reception of this kinestatic video might offer some lessons for those interested in videopoetry as a way to reach new and larger audiences. In a post on her personal blog, Sebastian pondered “What happens when a poetry video gets 3,000 plays in 5 days?” I encourage everyone to click through and read the whole post, which is much more angst-ridden than boastful (we poets do not always handle success well). I particularly liked this part:
A poem has no life outside its interaction with people. When they are not being interacted with, poems lie dead in the dark, where they are purposeless, and meaningless.
The role of the curator, remixer or publisher of poetry is to maximize the number of interactions each poem has with people. In the hands of the successful curator/publisher, the poem lives in interaction repeatedly and reaches a higher level of its interaction potential than poems in the custody of less successful handlers.
That’s the role of the curator/publisher in the scheme of things poetry. But it doesn’t have to be their motivation. This is where I got confused. If things go well, more people will interact with poems as a result of my remixing and curating. If things don’t, they won’t. But that’s not why I do what I do. I do what I do because I like voicing poems, I like exploring the technology of putting poems online in different ways, I like the challenge of combining poetry and digital imagery in video, and experimenting with sound.