Stuart Pound and Rosemary Norman have been collaborating on videopoems for 24 years now, but their work has lost none of its freshness or surprise. When I click on one of Pound’s videos in my Vimeo feed, it’s with the expectation that it won’t resemble too closely anything he’s done before. And so it was with this animation.
“The angry sleeper stalks his dreams/hard from night to night”. Dirk Bouts’s 1470 painting of demons carrying sinners off to Hell is the starting point for this not-quite-serious animated nightmare. Pachelbel’s famous canon played on a musical box is the accompaniment.
The piece was written by Christina Rau, who describes it as “sci-fi fem poetry”. As a lover of astronomy, this possibly self-invented genre intrigues me, especially as it is expressed in this fresh poem, unusual in choice of language. As if to demonstrate the generic form in its title, Christina’s collection, Liberating The Astronauts (Aqueduct Press), was published in 2017, the year before the making of Kepler’s Law.
Among cultural involvements such as teaching and facilitation of writer’s groups, Christina serves as Poetry Editor for The Nassau Review. Dana’s animated videos are designed to appeal to his young daughter, who inspires his current creative work.
A video collage by multi-media artist, Donna Kuhn, set to composer David Hahn‘s piece, “Make America Great Again”, addressing the contemporary political and cultural landscape of the USA, while alluding to historical ideologies of identity that have led to its present condition.
In a rhythm reminiscent of beat poetry, Hahn voices his own text in a rapid stream of hackneyed national slogans, turned upside-down and inside-out to powerfully convey the deranged zeitgeist experienced by so many US residents, and by masses around the world. His feverish mantras climax in the distilled and obsessive chant, “America, America, again, again, again, America, again, again”.
The video is made up of a kinetic array of visual elements including animated text, digitally-drawn art, abstracted numerical sequences, cartoon images, and superimposition of iconic movie clips with footage from World War II.
Hahn has been composing for 30 years, beginning as a performer on lute, guitar, and mandolin with groups such as the Boston Symphony Orchestra, the San Francisco Symphony and Opera Orchestras, Boston Musica Viva, the Seattle Symphony, Musica Nel Chiostro in Florence, and the City of London Festival. He served on the faculty at the New England Conservatory, where he co-founded the Boston Renaissance Ensemble, which toured extensively in the US and Europe.
Donna Kuhn’s experimental videos have exhibited internationally since 2004 at film festivals, museums, art galleries and online on literary and poetry sites.
The title of the piece is given on its Vimeo page as “Make America Great Again”, with the titles on the video itself suggesting the alternative name, “Slogan”.
What better way for Moving Poems to return from hiatus than with the latest video collaboration between artist Cheryl Gross and poet Nicelle Davis? And as a nature lover, the subject matter is close to my heart. I feel that way too few poets really grasp the severity and horror of the extinction crisis, let alone the threat it poses to the human imagination and, arguably, our very souls. I found this cycle of poems so moving, especially accompanied by Cheryl’s inimitable, unsettling animation.
Nicelle has a brief column about the collaboration up at Cultural Weekly:
Death is a charmer; nothing makes us feel more alive than brushing shoulders with Death at a bar, in our cars, or at 5,000 feet in the air. Every time we risk and survive there is a thrill. We feel like we won more life because we are not the one dying.
There is something sexy about Death, how when poachers take a machete to the face of an elephant, the gaping wound resemble a wet vagina, how sex is always better once it’s gone, or when whalers take a grenade harpoon to a whale—even more so when an entire species is gone, how life looks for life even inside a zoo.
But Death is a trickster. We can never win at Death’s game. We remain alive, while our humanity is dying. Soon, there will be nothing of our lives worth living for.
Commit to Memory: The Precipice of Extinction is a multi-platform project that addresses the eventual disappearance of our culture using animals as metaphors. We explore issues of global warming, displacement, assault and poverty.
Continuing with this week’s feature on Marc Zegans, here’s the first of three videos I’ll be sharing based on texts in his latest collection, circulated to select video artists and filmmakers while still in manuscript. This one is described on YouTube as “retro-collagist Eric Edelman‘s animation of the First Fragment from the Typewriter Underground. Full text can be found in La Commedia Sotterranea della Macchina da Scrivere: Swizzle Felt’s First Folio from the Typewriter Underground. Available from Pelekinesis March 1, 2019.” The publisher’s webpage calls La Commedia
a gathering of verse fragments and collages describing and illustrating the life of the Typewriter Underground, a spontaneous sub-cultural phenomenon that appeared with near simultaneity in a variety of cities and smaller locales across the globe in the late 20th and early 21st Century.