‘Quiet Sounds’ is my second video collaboration with the marvelous UK poet and performer, Lucy English. Both have been made as part of her great, multi-artist project, ‘The Book of Hours‘. The earlier video, ‘The Last Days‘, started with images. This one started with the poem and sound. The soundscape is comprised entirely of Lucy’s voice and small noises in the environment. I wanted the ‘bed’ of the soundscape to be quietly musical and constructed it from a collection of sounds recorded by various artists, and found on Creative Commons licences at Freesound. The central element is the metronomic sound of a clock ticking. I edited Lucy’s voice in loose rhythm with the clock, elongating the pace of her reading and leaving spaces for the various other sounds to have their ‘solo’ moments: a pheasant and a wood pigeon, a sheep, a cow, an old fridge, air traffic. I carefully built up the soundtrack piece by piece until I had a complete first draft. Then I looked for images that might add further to the audiovisual experience of the poem. The poem describes a moment of solitude, a hush when a woman becomes aware of the little sounds in her environment. It is implied she is inside a domestic space at the time. In my net wanderings, I found a marvelous series of interior shots by Carol Blyberg (aka Smilla4 on Flickr), also available on a Creative Commons licence. I worked with the images using zooms and slow dissolves that changed in rhythm with Lucy’s voice. For such an apparently simple piece, it was time-intensive to make, especially in the refining process that saw both sound and image go through many drafts. I gave a lot of attention to subtle details, in a meditative way. Maureen Doallas has since featured ‘Quiet Sounds’ on her wonderful blog, Writing Without Paper.
See Vimeo for the text of the poem, as well as links to all the soundtrack sources.
The latest addition to the Book of Hours, Lucy English’s multi-filmmaker collaborative poetry film project, is by Marie Craven, who used footage from the 1942 documentary A Child Went Forth and music by Kevin MacLeod. The close fit of text to images paves the way for an especially affecting zinger of a last line.
Incidentally, I gather from Facebook that Lucy is still looking for collaborators. Get in touch with her if you’re interested.
Hybrid: a new collaborative video. The process of making it started with the original art by Marguerite de Mosa. Then came the music by SK123. Then finally the words, written by Nigel Wells in response to an early draft of the video. It’s a change in the order of how I usually put things together for a videopoem, and it was interesting trying things this way. Thanks to the great collaborators, Marguerite, Steve and Nigel, for working with me on this!
The text here is by Canadian poet Kim Mannix, the music by Adi Carter, and the video and voice are the work of Marie Craven, who really puts the “kinetic” into “kinestatic” in her use of still images. See the Vimeo description for links to all the photographers, and listen to the complete soundtrack, “Blink Blink,” on SoundCloud.
Our last video of 2016 is also our first of 2017, since it’s already the New Year in Australia where Marie lives. And a few hours ago on Facebook, she wrote: “The turn of the year is my favorite time. For me, it is about letting go of the past and going fresh into the new.” Here’s wishing all Moving Poems readers/viewers a happy, peaceful and creative New Year.
Much closer to home, I was delighted when well-known Byron Bay writer, Candida Baker, contacted me recently with some lovely poems she thought might be of interest. She already had high quality voice recordings of her own readings, produced by Sunshine Coast musician and sound artist, Michael Whiticker, and some abstracted landscape photographs to work with as well. An attempt at creating a video poem was irresistible to me. This video, ‘In The Forest’, is the result. It is, again, a visually abstract piece. The effect of motion from still images was achieved by creating three layers, one static and two slowly zooming in opposing directions, and also by creating multi-layer dissolves between the images. I was struck by the beautiful colours of the Australian landscape that were captured in the original stills and was pleased for their colours and textures to become even more abstractly focused in the video images. The music is by Podington Bear, whose wonderful sounds I have included in videos before. These I’ve sourced from the many musical tracks available around the internet on Creative Commons license. The bird sounds are from Tai Inoue at Nature Sounds Australia in Cairns, from a download link he shared at Soundcloud with permission to re-use. The email collaboration with Candida Baker was very engaged and a joy from start to end. She and I will be meeting in person for the first time this week, when she interviews me for the online magazine she edits and publishes, Verandah. It’s rare that I have the opportunity to meet internet collaborators and I’m very much looking forward to this. The profile will appear in an issue of the magazine in the near future.
Click through to watch and read about all three of Craven’s recent videos. I just want to add that I think it’s commendable not only that Craven regularly collaborates with poets and musicians at such a high level, but also that she “shows her work” and describes her process in such detail. I wish more filmmakers and video artists would follow her example.