“An experimental video based on a Marianne Moore poem,” says Erik Carlson. The voice is that of the poet. I think the video really gets inside the modernist worldview, so to me it’s a good match.
The poem should be public domain now, I believe, so here’s the text:
through black jade.
Of the crow-blue mussel-shells, one keeps
adjusting the ash-heaps;
opening and shutting itself like
The barnacles which encrust the side
of the wave, cannot hide
there for the submerged shafts of the
split like spun
glass, move themselves with spotlight swiftness
into the crevices —
in and out, illuminating
of bodies. The water drives a wedge
of iron throught the iron edge
of the cliff; whereupon the stars,
bespattered jelly fish, crabs like green
lilies, and submarine
toadstools, slide each on the other.
marks of abuse are present on this
defiant edifice —
all the physical features of
cident — lack
of cornice, dynamite grooves, burns, and
hatchet strokes, these things stand
out on it; the chasm-side is
evidence has proved that it can live
on what can not revive
its youth. The sea grows old in it.
Goethe’s poem of gothic horror has haunted me most of my life. As a child I found the poem in a collection of books at an estate auction. I read it over and over, fascinated by this idea of the fairy realm as dark and ugly, something sinister that we should fear – not the glamour and sparkle of modern fairy tales. A warning about things that haunt old woods and black forests.
The bits and pieces, techniques and layers used to create this film are many. Dozens of forms of manipulation have been brought together, from animation to live action, from drawings to rotoscoping. This is my homage to Starewicz, Svankmajer, and the Quays – their dark dreams have inspired my nightmares, have given birth to a generation who see the eyes in the forest and know that all that is fairy is not light.
“A North and South Indian classical dancer collaborate to evoke love, loss, and the slippery relationships between self, friend, and lover, in this contemporary abhinaya (emotional expression) piece loosely inspired by a poem by the 17th century Telegu poet, Ksetrayya,” says the blurb on the Vimeo page. Since I’ve featured a number of other dance pieces here, I thought I’d add this one to the mix. The poem quote goes by rather quickly in the video, so here it is again:
I wore myself out watching the road.
Counting the moons, I grieved,
Holding back a love I could not hold.
Telugu is a Dravidian language spoken by 95 million people in the state of Andhra Pradesh and adjacent areas of south India. Kshetrayya, a prolific composer and poet, is credited with the composition of some 4000 devotional (bhakti) poems to Krishna.
He perfected the padam format that is still being used today. His padams are sung in dance (Bharatanatyam and Kuchipudi) and music recitals. A unique feature of his padams is the practice of singing the anupallavi first then the pallavi (second verse followed by first verse). Most of the padams are of the theme of longing for the coming of the lord Krishna.
According to the Vimeo page, this is
A video poem using the text of poet Gerard Manley Hopkins from a journal entry he wrote in 1866. Video by Jym Davis. Featuring William Haun and Kenny Jensen. Filmed at Fontana Dam in North Carolina.
This video really adds to my appreciation of the William Blake poem. I’m not sure who put it together, but it’s one of a number of video poems from the Catalan literature site Blocs de Lletres (whence the Catalan subtitles).
This is one of a series of videos from Transborder Immigrant Tool: Mexico/U.S Border Disturbance Art Project, an initiative to give GPS technology to economic refugees from Mexico trying to enter the United States. The video uses imagery from the Virtual Hiker Algorithm, a video game-like GPS application for mobile phones developed by one of the members of the project. As the About page explains:
The border between the U.S. and Mexico has moved between the virtual and the all too real since before the birth of the two nation-states. This has allowed a deep archive of suspect movement across this border to be traced and tagged – specifically anchoredto immigrants bodies moving north, while immigrant bodies moving south much less so. The danger of moving north across this border is not a question of politics, but vertiginous geography. Hundreds of people have died crossing the U.S./Mexico border due to not being able to tell where they are in relation to where they have been and which direction they need to go to reach their destination safely. Now with the rise of multiple distributed geospatial information systems (such as the Google Earth Project for example), GPS (Global Positioning System) and the developing Virtual Hiker Algorithm by artist Brett Stalbaum it is now possible to develop useful Transborder Tools for Immigrants – and allow virtual geography to mark new trails and potentially safer routes across this desert of the real.
An article in MobileActive.org gives additional information on the technical aspects of the project.
For the text of the poem, see the blog post, which also supplies the following context and credits:
Video exhibited in ‘Space is the Place’ exhibition at the Gallery of the National College of Art & Design in Dublin, as part of the program of ISEA 2009 which takes place in Belfast and Dublin Ireland this year. The exhibition will run from the 27th August – 1st September 2009.
Text of poems: Amy Sara Carroll
Video poems design: Ricardo Dominguez, Micha Cárdenas, and Elle Mehrmand
Voices included in the poems: Micha Cárdenas, Amy Sara Carroll, Césaire Carroll-Dominguez, Patrick Carroll, and Ricardo Dominguez
Collaborative inspiration: Brett Stalbaum