~ literary magazines and websites ~
Last call for submissions of remix-ready poems to the Poetry Storehouse
After consultation with her board of advisers (me included), Nic S. has made the difficult decision to phase out submissions to The Poetry Storehouse, with a deadline of 28 February. Filmmakers and other remixers will have a bit longer: she’ll continue to archive videos and other material on the site through September. After that, the site will become dormant — though all of its content will remain online indefinitely, and filmmakers will continue to be able to use it as a source of material and inspiration.
I’ve enjoyed the project immensely but it’s becoming clear to me that it has gone as far as it can in its present configuration – ie as a one-person all-volunteer show for daily operations. To get to the next level, the Storehouse would have to think about expanding its volunteer staff and/or trying to attract investment that would allow the operational staff to grow.
The past 14 months have proved the concept of the Storehouse and shown there really is considerable untapped energy behind the concept among poets, readers and remixers alike. I think both community and buy-in exist to take the Storehouse to the next level. The way my life is going, however, I know definitely that I have neither the time nor the desire to administer additional staff and/or resources.
Read the rest of Nic’s blog post for the full details.
News round-up: FACT symposium, Tang Dynasty poetry films and more
FACT (Foundation for Art and Creative Technology), which describes itself as “the UK’s leading media arts centre, based in Liverpool,” will be hosting a day-long symposium on February 5: Send and Receive – Poetry, Film and Technology in the 21st Century. I’m not sure why it’s scheduled for a weekday rather than the weekend, but it certainly sounds interesting. The topic is somewhat reminiscent of the colloquium discussion at the most recent ZEBRA Poetry Film Festival in Berlin. Hopefully they will avoid some of the pitfalls we ran into there by defining their terms (such as “platform”) a bit more clearly.
FACT, in association with the University of Liverpool, PoetryFilm and The Poetry Society, is pleased to invite you to imagine the future of poetry at our symposium Send & Receive: Poetry, Film & Technology in the 21st Century. With presentations from artists, scientists and thought leaders, the day examines innovative platforms involved in contemporary poetic practices.
How has the digital age changed the way in which poetry is written, performed, communicated and received? Further exploring themes demonstrated in Torque Symposium: An act of Reading, the day will focus on the prevalent difficulties, dialogues and collaborative possibilities that new technological avenues have revealed in the world of poetry.
The symposium will include three distinct discussion areas, with audiences invited to join facilitated discussions after each segment. Confirmed speakers include George Szirtes (poet and translator), Deryn Rees Jones (poet and director of Centre for New and International Writing), Zata Kitowski (Director PoetryFilm), Marco Bertamini and Georg Meyer (Visual Perception Labs UoL), Suzie Hanna (animator) and Jason Nelson (hypermedia poet and artist, Australia).
More information TBA soon.
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A news story from October, recently posted to the ZEBRA Facebook group by Thomas Zandegiacomo Del Bel, also caught my attention this week, about a very ambitious plan by CCTV and the China Central Newreels Corporation to make 108 short films based on Tang Dynasty poems. I can’t embed the English-language newscast video here; click through for that, because it includes brief scenes from a couple of the films. Here’s a bit of the transcript:
“I think film communicates Chinese traditional culture in a very powerful and vivid way. I think it will really help young people appreciate the beauty of Chinese poetry,” said President of Beijing Film Academy Zhang Huijun.
The production team carefully selected 108 poems to be adapted into short films. It explores the works through story-telling and recreating the life of the time. Each film is about 15 minutes long and involves top Chinese actors and directors.
“We selected the best poems. We also selected them based on whether it is easy to make them into a story. That is vital for the short film,” said deputy director of China Central Television Gao Feng.
The initiative aims to promote China’s rich heritage in literature, especially among the younger generation. 70 of the total 108 short films have already been completed, with the rest scheduled to be finished before the end of this year.
The organizers have also invited 108 young singers to perform the theme songs for the films. They are also planning to produce picture-story books based on the poems. The goal is to eventually promote the entire collection of poems from the Tang dynasty.
By “the entire collection,” I suppose they are are referring to the famous and ubiquitous anthology of 300 Tang poems, though that would of course involve also making films out of short lyrical poems lacking in strong narrative elements.
I must say the emphasis on story-telling, popular appeal, and “recreating the life of the time” worries me. I don’t want to pass judgement before seeing any of the films, but experience with big-budget poetry films made elsewhere makes me fear that these films will add little or nothing to the poems and risk achieving the opposite of the project’s stated goal: rather than making poetry more appealing, they will communicate the message that it needs to be sexed up and turned into glossy period drama in order to hold anyone’s attention.
I hope I’m wrong, and that these films do challenge audiences and help translate ancient poems into a new idiom. Because Classical Chinese texts do in fact need to be translated in some way in order to be comprehensible to a speaker of a modern Chinese language such as Mandarin. It’s easy to see how film could assist in that regard, because the Chinese characters are a strong bridge to the ancient language. Calligraphy or type animations similar to what Nissmah Roshdy did with classical Arabic in The Dice Player could help bring the texts across without resorting to actual translation into Mandarin, Cantonese, etc. Alternatively or in addition, subtitling into modern languages could be used with the original language in the voiceover. Traditional poetry recitation, a stylized and beautiful art, could be incorporated into the soundtracks.
As for the imagery, I do think it’s a mistake to leave out all contemporary references, which might well serve as further bridges, adding depth and nuance. One element of Classical Chinese poetry that’s in danger of being lost even to modern Chinese intellectuals is their wealth of allusions to older poems and other texts — the vast libraries that were committed to memory under the Confucian educational system. I wonder if it might not be possible to somehow work a few of those allusions in through film collage techniques? At the very least, filmmakers could strive for a roughly equivalent level of allusive depth by incorporating references to well-known movies, pop songs and the like. I’m simply worried that too conservative an approach risks dishonoring the spirit of the texts. It would be as if Tang Dynasty poets composed only gushi and never experimented with the then-daring jintishi. If they’d been that allergic to innovation, we wouldn’t still be reading their poems today.
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The January issue of Poetry brings news of a poetry film still in production, an English-language documentary tentatively titled Las Chavas focusing on girls on a Honduran orphanage who are learning to write poetry in English and Spanish, with the aid of an American Episcopal priest and the poet Richard Blanco. A brief essay is followed by a selection of the girls’ poems. Check it out. Honduras has always punched well above its weight where poetry is concerned, so I’ll be looking forward to the film.
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The Athens-based collective + the Institute [for Experimental Arts], sponsors of the annual International Film Poetry Festival, have launched a new website to replace their old Blogspot site. It’s certainly easier to navigate, not to mention better looking. The Festivals link in the header takes one to a gallery-style archive of posts about the poetry film festival.
The Continental Review relaunches and The Volta’s Medium returns from hiatus
A post at Queen Mob’s Teahouse tipped me off to the relaunch of The Continental Review, one of the oldest online videopoetry magazines, founded by Nicholas Manning in 2007 and still co-edited by Manning and Jordan Stempleman. It’s now hosted on Squarespace with a minimalist, responsive design that serves the content well. The archive is organized alphabetically by author’s last name and is very browseable indeed. And they have two new videos up for Winter 2015.
The Continental Review is included in the short list of recommended sites on the front page of Moving Poems. Another journal in that list, The Volta‘s video section Medium, had been on hiatus since April 2014, but as of January 1 they too have a new issue out, #85: a 20-minute videopoem by Brandi Katherine Herrera and Andrew Glei called Verso. It’s great to see Medium back, and I hope they’ll resume regular posting.
Both journals welcome unsolicited submissions, by the way — both through more or less the same process of uploading pieces to Vimeo and emailing their editors with the links.
HaikuLife: The Haiku Foundation video project
The Haiku Foundation is a nonprofit organization dedicated to the promotion of haiku in English, including but not limited to the 17-syllable form that has (regrettably, in my view) become the norm. They run contests, host extensive web archives, produce teaching materials and more. And for a number of years they’ve been sponsoring a National Haiku Poetry Day on April 17, which in 2015 will be turning into an International Haiku Poetry Day — thanks largely to web video technology.
[R]ather than create dozens of small gatherings, as we have done in the past, we will host a single event that all haiku poets can attend on line. We hope you and your organization will want to create a HaikuLife presentation to share with haiku lovers around the world.
They’ve produced a video to explain what they have in mind:
Read much more about it on their website.
Poetry filmmakers Sina Seiler and Eduardo Yagüe featured in The Third Form
This month in her Third Form column at Connotation Press, poetry-film critic Erica Goss profiles and interviews two filmmakers who should be familiar to regular readers of Moving Poems: German documentary filmmaker Sina Seiler and the Spanish freelance director and poet Eduardo Yagüe. I learned a lot about both directors. For example,
Sina served as an intern at the 2008 Zebra Poetry Film Festival, and was involved in the pre-screening process (no small feat, as Zebra receives close to one thousand submissions). She remembers how it felt to watch so many poetry films: “It was so great that something like this existed. I immediately had the idea to make my own poetry film.” “Elephant” is the result, based on a poem Sina wrote. She added, “I have been writing poems since I was young, but I didn’t publish them – they were just for me. Nothing commercial.”
And this about Yagüe:
Eduardo’s influences include the German choreographer Pina Bausch, the British performance group DV8 Physical Theatre, and the work of Samuel Beckett. Themes of emotional and sexual tension are evident in Eduardo’s work, which his many talented actor friends aptly express.
“I know a lot of actors,” he said. “I am lucky that they want to be in my films. I love actors and poetry, so that’s what I want to do: mix the things that I love. And most actors are comfortable with poetry. We study poetry; it helps us learn to speak properly. Much of the spoken part of theater is poetry: Shakespeare, for example.”
Do read the rest (and watch the films). What each filmmaker has to say about their process is especially interesting.
First installment of The Nantucket Poetry Project debuts at The New Yorker
A poetry film made earlier this year by media and video production company TNP Labs has just been posted to the web by The New Yorker, which hosts its own video (including six previous examples of “poetry and such“). The poem, Robert Pinsky’s “Shirt,” was first published by The New Yorker in 1989.
Twenty-five years later, “Shirt” has been brought to the medium of film, as the first installment of The Nantucket Poetry Project, an initiative by the Harvard professor Elisa New and the Nantucket Project to disseminate poetry through video and other multimedia platforms. In this visualization of the poem, several people read the text—including Kate Burton, Nas, and Pinsky himself—while the camera captures the details of stitching and fabric, spinning and sewing, and nods to the poem’s account of the 1911 Triangle Shirtwaist Factory fire, in Manhattan. New said, “ ‘Shirt’ is neither short nor simple, but I knew it had the power to reach anyone who heard it, to live in every voice that lends itself to the text.”
The link goes to a blog post from last June announcing the collaboration. What makes this especially noteworthy, aside from the involvement of elite institutions such as Harvard and The New Yorker, is the promise of more to come.
Our vision is simple. We believe that great poetry is meant to be read aloud, and whenever we gather together to do this, our culture is enriched. We also believe that poetry lends itself to multiple interpretations and can find exciting expressions through various forms of media – from music to dance to video art. And so we are assembling a group of world-class artists, thinkers and performers whose interpretations will bring to life the many diverse textures in “Shirt,” in the form of a short film.
So six months later, we can see the results. The poem was already available on YouTube in a reading by the poet at the 2014 Dodge Poetry Festival, but the audio there is a little, uh, dodgy, so this film is already a big improvement in that regard. Also, the production quality overall is excellent, as one would expect — TNP Labs have had “more than 50 Emmy Award nominations (and 16 wins),” they tell us. I liked the use of different readers and the blend of reading footage with other imagery. I’m guessing that the filmmakers were not well versed in the poetry-film/videopoetry tradition and were feeling their way — which is not always a bad thing, because completely original approaches are what keep the genre fresh. Here, we see a bit of that freshness with the innovative use of multiple readers. But otherwise the film struggles to escape the gravitational pull of narrative filmmaking, though I did like the use of mannequins as ironic stand-ins for faceless workers.
I’m indebted to Ruben Quesada for bringing this to my attention. At my request, he shared his own impressions via IM:
I found the inclusion of readers from different cultural backgrounds exciting, at first, but it didn’t go beyond simply having them read to the camera, and the literal images were too on-the-nose. I expect video poems to offer a figurative interpretation of a written poem instead of a literal, linear narrative translation. The use of a Latina woman made me a little uncomfortable and not in a good way—the way an image challenges us to learn something new about others or about ourselves. Perhaps it was my own personal experience of growing up in Los Angeles and being aware of the many women of color, mothers of many of my peers, who would ride the bus into Beverly Hills to work as housekeepers or nannies at the start of the week and not return again until the week was over. This woman of color in the video who appears to work in a dry cleaning business echoed this memory—it reinforced the idea of a woman of color as a domestic worker. An image seen many times and caricatured more recently as Seth McFarlane’s animated character Consuela in Family Guy.
In any case, it was a pleasant surprise to come across the video and I’m very glad to see The New Yorker making space for video poems.
It will be interesting to see how many more poetry films The Nantucket Poetry Project produces; this can’t have been cheap to make. I hope it gets plenty of exposure at film festivals and on TV. The poem is compelling and certainly deserves a large audience. Also, big ups to The New Yorker for making their videos fully shareable and embeddable. I hope they continue to publish poetry films, whether through a partnership with The Nantucket Poetry Project and/or through an open call for submissions. (Needless to say, we’d be sure to publicize the latter.)
Now if someone would just make a feature-length film with Chris Llewellyn’s harrowing collection of persona poems about the Triangle Shirtwaist fire, Fragments from the Fire…
ZEBRA Poetry Film Festival in Malaysia reviewed by George Szirtes
Though ZEBRA Poetry Film Festival‘s main event in Berlin only happens once every two years, they are regularly invited to screen selections of poetry films from their archives at festivals all over the world. I was pleased to see a review of one of these events by noted UK poet and translator George Szirtes, in his always interesting blog. He happened to have been in Malaysia for ZEBRA Poetry Film Festival in Penang and Kuala Lumpur, where, according to Goethe-Institut Malaysia on Facebook:
In conjunction [with] Georgetown Literary Festival in Penang and with collaboration of Obscura-Kala and Art Printing Works in Kuala Lumpur, Dr. Thomas Wohlfahrt, Director of the Literaturwerkstatt Berlin and founder of ZEBRA Poetry Film Festival Berlin screened a selection of films all over the world as a part to promote poetry films in Malaysia.
Szirtes’ review deserves mention and excerpting not just because of his own prominence, but because any coverage of poetry film screenings by bloggers or journalists is unfortunately still quite rare. I liked Szirtes’ swerve into audience analysis and self-reflection—just the sort of personal take one expects from a good blog post—and I was fascinated to see which film-poet he thought was the stand-out. See if you agree. Here’s some of what he wrote:
The film show is in the evening at APW a converted printing works complete with auditorium, bar and much else. Slowly the hall fills up and, eventually, overfills. The idea of poetry-film is not films that may be poetic but rather the interpretation of an actual poetic text, often through computer work. We see about a dozen short films including a relatively early but ingenious version of Austrian sound poet Ernst Jandl created on an Amiga computer, move on to a snappy rhythmic interpretation of a Peter Reading poem and many others involving drawing, reading, performance, stop-frame animation, abstraction, grotesque and mixtures of them all. The one that takes my breath away is by one by Taiwanese poet, Ye Mimi, They Are There But I Am Not. Here is the link to it. Its timing, its restraint, its depth, its spare lyricism, the quality of its feeling and thought and its sheer simple precision seemed far beyond the rest to me. There was a fine comic-grotesque version of a poem by Ingeborg Bachman, an excellent rap performance by an exiled American Cambodian poet, versions of Billy Collins (his ‘Budapest’) and Mahmoud Darwish at the end reading one of his to simple figure images and arabic script in motion. Everything was pretty good and some excellent. The ones that dealt with issues might be most effective in moving emotions but their intentions are clear from the start. They set out to do something and do it. Sometimes they collapse into a kind of bathos (I don’t blame them, their cause is great and drives them into grander forms of rhetoric) before recovering. There are extraneous reasons for admiring these and indeed people do admire them. John Giorno speaks a fine comic poem against family values. Everyone laughs and claps loudly in approval of the message before returning to their family values. Another poem rhapsodises about freedom and jazz, and all the good things one might rhapsodise about and everyone claps. Sure we clap. It’s easy.
We like to be told we are free spirits laughing at convention. It help us to go on with our conventions. We have businesses to run, deals to clinch, jobs to go to, articles to write. I don’t think this is precisely hypocrisy but a kind of social behaviour, like people who want to be thought interesting at parties and declare, ‘I am mad, me, quite mad!’ You can bet your bottom dollar they are saner than you are.
But I love Ye Mimi’s film and I love her poem. The two together are a bringing out of the poem not by illustrating it or referring to it, but by realising it at quite another level. I shall be looking out for her work.
Read the whole post. And watch Ye Mimi’s films on Moving Poems here.
Poet Benedict Newbery on collaborating with animator Sandra Salter
A fascinating interview with UK poet Benedict Newbery has just been posted in the Berlin-based arts magazine Chased. I was especially interested to learn how closely he works with his collaborator Sandra Salter in the making of their widely screened poetry films — it’s far from the passive role that many poets take in these kinds of partnerships. Bettina Henningsen is the interviewer.
Chased: You produced some wonderful and very successful poetry animations together with Sandra Salter – “Cul de Sac” and “The Royal Oak”, which were part of the film programme at the ZEBRA Poetry Film Festival in Berlin. Is making poetry films something you always wanted to do?
B. N.: I fell into poetry film quite by happy accident and had never thought of making one until I was contacted by Sandra in early 2008. We’d met very briefly a couple of years before through a mutual friend. She saw a call for submissions for the 2008 ZEBRA Poetry Film Festival in Berlin, remembered she’d met someone who’d just started writing poetry (me)and emailed me. Did I want to make a film of one of my poems? Of course! I replied.
I enjoy film and am interested in how film works. I did a short introductory course on animation a few years ago and would like to make some films on my own. But working full time and writing when I can doesn’t leave an awful lot of room for developing that side of things. I’m happy to let Sandra take care of that side of things for now!Chased: How did the co-operation of the two of you work exactly?
B. N.: Our first film Cul de sac was a pretty rushed job and we were both improvising quite a bit. Sandra works with watercolours and sent me a few images to start with. So I got a feel for the sort of thing she was looking to develop. After a couple of meetings it was obvious we were running out of time so we agreed that I’d storyboard the film — something I’d never done before but which I really enjoyed. From the storyboards, Sandra painted sequences of animation, each one very small — 5 x 4cm. She then scanned the images, reassembled them, placed them in sequences and then added my voice recording and Paul Murphy’s music. The animation process was done very quickly — there was no registration of images etc. But it worked! And we were shortlisted for the ZEBRA competition that year.
The Royal Oak was a bit more stop-start over a few years. We had met a few times to discuss storyboards and the general direction of the film but with no funding it was proving difficult with jobs and family commitments. Then Channel 4 got in touch with Sandra and asked her to make a pitch for its Random Acts series. The pitch was successful and suddenly we had the funding we needed. By this time we lived quite a distance from each other so we weren’t able to meet up so easily. But we’d email and chat on the phone. And in the end Sandra produced a fantastic film!
Chased: Is the film version of a poem an extension of the poem to you, or an addition?
B. N.: When I drew storyboards for both poems, I was illustrating the narrative flow as I’d realised it in the writing of the poems. I think left to my own devices in the first couple of films, less-interesting films would have emerged. Perhaps just a visual addition.
This was the key with collaborating with someone like Sandra. She’s a very talented film maker. And she also gets what it is that I’m talking about in the poetry. Through her animations she extends the poem into something new, substantive, with its own interpretation of the narrative. She has the skill and ability to take it somewhere else, and surprise me with her take on what is important — or how a particular aspect of the work needs to be given salience. Even though she followed the storyboards for Cul de sac she still brought in her own ideas that lifted the words elsewhere. And in animating The Royal Oak, she worked away from the original storyboards — to brilliant effect.
I think perhaps an OK or average film of a poem adds to the poem, if it’s lucky. A good film will extend it.
Chased: What is your next project?
B. N.: Sandra and I are looking to make our third film together — hopefully in 2015. We already know which poem we’re going to use — exploring the darker, seedier side of the English seaside town. It will see a continuation of Sandra’s style of watercolour transitions.
Do read the rest.
Erica Goss on ZEBRA 2014
Poet Erica Goss’s Third Form column in Connotation Press this month is devoted to her impressions of the 7th ZEBRA Poetry Film Festival, and includes a short interview with ZEBRA’s artistic director Thomas Zandegiacomo Del Bel as well as a list of “ten video poems from the festival that deserve attention.” The majority of these have yet to appear on Moving Poems, so do check it out.
“Even people who do not read poetry become entranced”: an interview with Laura M Kaminski
This is the 19th in a series of interviews with poets and remixers who have provided or worked with material from The Poetry Storehouse — a website which collects “great contemporary poems for creative remix.” Anyone who submits to the Storehouse has to think through the question of creative control — how important is it to you, what do you gain or lose by holding on to or releasing control? This time we talk with poet Laura M Kaminski.
1. Submitting to The Poetry Storehouse means taking a step back from a focus on oneself as individual creator and opening up one’s work to a new set of creative possibilities. Talk about your relationship to your work and how you view this sort of control relinquishment.
LMK: I’m not sure I think of “my work” as mine. Most of the poetry I write is responsive—ekphrasis, conversation poems, nature poetry—poems that try to pay tribute and call attention to whatever inspired them. And frankly, I didn’t recognize that until earlier this year when reading the blurb Jose Angel Araguz wrote for the back of my collection last penny the sun. It would be fair to say I didn’t know what I was doing until another poet put words to it.
But I wouldn’t know that there’s such an amazing thing on this planet as a cuttlefish if Temple Cone hadn’t put one in a poem. And if Ayla Yeargain hadn’t written about the scent of honeysuckle at sundown, I wouldn’t have, literally, “stopped to smell the flowers.” How do I even begin to pay back the people who have brought such wonder into my life? I can’t. I can only try to pay it forward. I’m indebted to The Poetry Storehouse for creating a “scenic route” for poetry—it’s all about pointing and sharing the wonder here.
2. There is never any telling whether one will love or hate the remixes that result when a poet permits remixing of his or her work by others. Please briefly describe the remixes that have resulted for your work at The Storehouse and your own reactions to them.
LMK: Nic S. and Marie Craven both remixed “Joining the Lotus Eaters,” and both films used Nic’s reading of it since I wasn’t able to provide a recording with my submission. Nic’s film is haunting to me; I’ve spent a good part of my life in isolated areas and high-desert scrubland, and Nic’s remix uses mostly black and white footage of a young woman hiking alone in high desert, interspersed with short, full-color close-ups of nature at its most lush. My reaction to it was tears — how could she possibly know what it was like for a desert-rat like me to smell honeysuckle for the first time? But there it is, on film: it was just like that.
Marie Craven’s remix uses stills, mostly flowers, that seem to vibrate and dilate in time to the percussion in the soundtrack. It’s all lush, mesmerizing, intoxicating—the heady enchantment of those fragrances, and you can’t stop breathing in. Someone I know who doesn’t usually read poetry watched it and said “I could watch stuff like this all day.”
Nic reached into the poem and somehow extracted and showed me myself, like Jose did in the book blurb. And Marie, she’s serving lotus-blossoms, yes? Even people who do not read poetry become entranced and cannot leave.
3. Would you do this again? What is your advice to other poets who might be considering submitting to The Poetry Storehouse?
LMK: I’ve already gained far more than I’ve given in my relationship with The Poetry Storehouse. I’d certainly encourage others to be a part of this adventure in any way they can.
4. Is there anything about the Storehouse process or approach that you feel might with benefit be done differently?
LMK: I think the number of participants that have been drawn to The Storehouse in its first year—poets, readers, film-makers—validates the approach. The collaborative atmosphere and opportunities are exciting. It’s working! It’s working!
5. Is there anything else you would like to say about your Poetry Storehouse or any related experience?
LMK: It’s hard for me to imagine what it would be like to “hate” a remix—I’m simply in awe of the courage it must take to remix a poem and show it to the poet for the first time. Any other poets who’ve borrowed from Homer want to go back with me and show him how we’ve remixed his work? I’m not sure I’m brave enough to go alone.
Editor’s note: Since this interview was conducted, two more filmmakers have released work made with Kaminski’s poetry. We’ll probably post them to Moving Poems eventually, but in the meantime you can watch them on Vimeo: “Facing the Wall” by Swoon and “Ghosts” by Jutta Pryor.
Right Hand Pointing magazine tempts poets to submit with promise of a video made from their work
The always innovative online literary magazine Right Hand Pointing has hired an unusual reader for their next issue.
81: (December 2014): Special poetry issue: “Swoon,” One to three poems will be selected by Marc Neys who, under the name “Swoon” creates videos incorporating poems. Marc will create a video based on the winning one, two, or three poems. We will begin reading for this issue immediately. Deadline October 31, 2014.
And check out their fancy multimedia guidelines! I can’t remember the last time I was so entertained by a list of rules.
Neys probably needs no introduction to regular readers/viewers of Moving Poems, but just in case, here’s his website.
