Posts in Category: Concrete and visual poetry

In Earth Dreams by Daniela Elza

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Interesting kinetic text animation by Daniela Elza’s husband Dethe, “programmed in NodeBox, final video produced using QuickTime and iMovie.” To me, this kind of fits in the “concrete poetry” category (though I admit that’s subjective, and I should probably just merge it into a kinetic text category).

Kinetic type poem by Zach Lieberman

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Self-referential in the grand tradition of concrete poetry. The music is also a perfect fit, I thought.

Poem by Zach Lieberman. Code by Zach Lieberman & Kimmo Kallio. Performed live by Kimmo Kallio. Built with Processing.

Soundtrack: Caveman lament by Chris Clark.

Window Interplay by Francisco José Blanco

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I don’t entirely understand Josephine Gustavsson’s explanation for the method here, but it sounds highly imaginative:

Every day, trains scrape off iron filings from the rails of the tube network. These filings are regularly removed by staff, since they can otherwise interfere with the signaling system. The procedure is carried out using a machine that contains a magnetic force.

The visualisation of the poem ‘Window Interplay’ is made for the moving image screens of the London Underground, to inspire Monday morning commuters. It is made through a series of explorations, making use of iron powder and magnetic fields.

Francisco José Blanco
is a Venezuelan artist resident in Sweden.

Peacock and Fish by Hafez

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(English-dubbed excerpt)

This is Tongue of the Hidden, directed by David Alexander Anderson with calligraphy, translation and narration by Jila Peacock and animation by Florian Guibert, assisted by Jerome Dernoncourt. See the film’s webpage for complete credits, stills, storyboard, and more.

The poet Hafez, also known as the Teller of Secrets, used the language of human love and the metaphors of wine and drunkenness to describe his desire for the Divine and intoxication with the mysteries of the Universe. […]

Hand-drawn Farsi (Persian/Iranian) calligraphy is imported into the computer and forms the basis of constructed landscapes, and animals that move within landscapes. Software was Studio Max, Maya, XSI and After Effects.

According to a page on Jila Peacock’s website, “The film was premiered at the National Film Theatre in October 2007 as part of the London Film Festival and as part on Animate TV on C4 in December 2007.” See also the section of her site on her handmade artist’s book Ten Poems From Hafez.

Confused Rain by Nam June Paik

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nam june paik’s confused rain (1967) was the chaotic distribution of the letters C-O-N-F-U-S-E on a sheet of paper.

clint enns’ confused rain (2008) is a posthumous collaboration with nam june paik that expands paik’s work into a computer program that produces an animation of the letters C-O-N-F-U-S-E falling like rain drops.

this was written in visual basic.

For more on the Korean-American artist Nam June Paik, see the Wikipedia, which says he was “considered to be the first video artist.” For more on Clint Enns, see his Vimeo page.

One Hand Clapping by Brenda Clews

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Toronto-based painter and poet Brenda Clews has recently begun to explore videopoetry, with some very interesting results. Concrete or visual poetry often strikes me as more art than poem, but I like what this one says about rain — and about poetry. The words are right at hand, but remain out of reach. (If you have the bandwidth for it, this is available in HD, as well — click through to view it on YouTube.)

Another exciting thing about this production is the double-blind collaborative way it came about, alluded to in the title and explained in the credits at the end:

Brenda created a short film
for unheard music

Gabriel created music
for an unseen film

Gabriel is the avant garde musician Gabriel G, a.k.a. Alphacore.

See Brenda’s lengthy description and analysis of the piece at her blog, Rubies in Crystal.

In-di-vi-sível (Indivisible) by Márcio-André

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Footage of a performance by Brazilian sound-poet Márcio-André. Brazil has had a thriving avant-garde poetry culture for decades, so I thought it only fitting to pay tribute to it here on Moving Poems at the end of a week featuring Brazilian videopoetry.

Many of Márcio-André’s projects don’t require a grasp of Portuguese to appreciate, being more sound than poetry. One that I found especially intriguing is his online Dot-Matrix Symphony. The instructions say (I think) to push play and then pause for all nine videos, then when they’ve all downloaded, start them going as close to simultaneously as possible.