A Robert Wood poem and Nic Sebastian reading from The Poetry Storehouse were remixed with footage from the Prelinger Archives in this videopoem by Dustin Luke Nelson (whose poetry is also included at the Storehouse). The poem originally appeared in Rose and Thorn Journal.
American poet and electronic literature expert Matt Mullins, who has previously made some compelling videopoems on his own, collaborated with filmmaker Marc Neys (A.K.A. Swoon) for this one, as he notes in the Vimeo description:
A film by Swoon. A collaboration with Matt Mullins. Matt Mullins put together a recitation and score for a piece he’d written loosely based around the myth of Arion—a minor Greek god of music and poetry—that plays out in the context [of] corporate America. He pulled aspects of this myth into the score sonically, worked his recitation into it, and sent it off to Swoon, who came back with a visually compelling counterpoint that enhanced the poem’s subtext.
(Update, 28 March) Marc has blogged some fairly extensive process notes, including this:
I loved how he constructed a track around his poem. A scape full of (birdlike) noises that invited me to dive in.
The video is a splitscreen-storyline where I play out a female and male character (Thanks Rebekah, aka Softly Galoshes)
I took words from the poem and paired them with illustrations from other words from the poem. Those pairs blip throughout the video…
We wrote back and forth about certain visual decisions I made;
Matt: “I like what she represents and I like her demeanor and the things she does. I’m just wondering if a man giving off a similar insomniac/doubt vibe might be bring out more of the poem’s layers. His facing us would still give a counterpoint to the man’s back in the window while also adding a kind of visual echo of the narrator. But I don’t know, there are things about the woman I like as well. What do you think?”
Me: “I specifically picked out a female face to open up that perspective. To avoid people relating the narrator to the face…”
Things like that.
I believe the idea, the poem, the track work pretty well together. We were happy enough with it to set up a few more collabs. I’ve sent Matt a bunch of unfinished video’s, raw editings, visual ideas,… to play around with. More to follow this one soon, I guess.
A poem by Diane Lockward from The Poetry Storehouse, in what Nic Sebastian calls a still image remix — the first of two videopoems she’s made so far with the digital artwork of Adam Martinakis. Nic has just posted some process notes for the two videos. A couple of snippets:
I loved [Adam Martinakis'] weird and wonderful images as soon as I saw them. His website pictures are downloadable (not everyone is so open, even though the files for online viewing are necessarily quite small), so I was able to download the ones I liked and privately get a good sense of how I might work with them before I asked Adam for permission. He gave it at once, and went so far as to say there was no need for me to clear the final version with him. (I did, though – things work better if you keep folks posted all the way, I find).
A subset of Adam’s images were more rawly sexual, almost predatory, and these came together in my mind as a great backdrop for Diane’s lush, voluptuous poem about orchids, but not about orchids. The poem is couched as a warning to the predator against obsessive pursuit of the object, and I thought I could present the corollary of that – the vulnerability to exploitation of the object, whether a woman or an orchid in the wild. Adam’s image of the falling girl in a fetal position wrapped in gold foil struck me as exquisitely vulnerable and a wonderful way to wrap up this ‘story’.
This genre, to which I have perhaps inappropriately applied the term kinestasis — basically, fancy slideshows in video form — probably accounts for 90 percent of all poetry videos on YouTube. Most, of course, are thoroughly unimaginative, so I told Nic in an email that I was happy to see her elevating the genre a bit. Much to both of our surprise, however, the four still-image remixes she’s made so far have already surpassed almost every other videopoem she’s ever made in the number of views they’ve racked up. I would suggest that’s because, when the artists whose work she uses link to the videos, their artist friends on Facebook actually go and watch them. Poets trying to get other poets to watch videos is always going to be more of a struggle. At any rate, read Nic’s full account on her blog.
This is Crevice, a terrific videopoem I happened across on Vimeo a few weeks ago. It’s the work of Tiffany Irene, who according to her Vimeo user bio is a film student at Temple University in Philadelphia. Summer Patterson is the actor.
Last week’s Sunday bonus post went over well, so here’s another, also a bit spiritual, for all you church-of-the-brunch types. In this one, the late Allen Ginsberg does Tai Chi in his kitchen over an audio track of Allen Ginsberg reading a poem about doing Tai Chi in his kitchen. Found via the lyrikline blog, which notes:
This clip is one of the earliest “Poetry Spots” Bob Holman made between 1986 and 1994 for the New York public television station, WYZC. Holman produced around 50 “Poetry Spots” in total.
For more of Holman’s poetry videos, see his YouTube channel.
I have been working on ‘Poetry Storehouse’ videos in between workshops and commissioned projects. Perfect way to create a (much needed) distance from one project while playing around with another one (with less pressure)
This videopoem started out with ‘loose’ footage I shot in Athens (during a workshop for Frown. More on that in a later post). I wanted parts of a ping pong table almost to feel other-worldly.
Back at home I stumbled on this great instrument: http://www.femurdesign.com/theremin/
The selection of poems in the Storehouse is evidently large and diverse enough that a filmmaker with some footage and music already in hand can locate a suitable text, as Swoon did:
Somehow I thought the feel of the poem and the alienating music fitted well together and were a great ‘match’ with the ping pong footage. When I say ‘match’, I mean there’s a lovely friction between it all. It seems wrong (hence the title) and strangely suitable at the same time…