~ video hosting ~

Will “House of Cards” save poetry videos on the web?

The lion’s share of online poetry videos (in English, at any rate) are uploaded in the U.S. and, if Moving Poems’ site stats are any indication, their largest audience is also in the U.S. That’s to be expected, I suppose. But there’s a big problem: our internet infrastructure is terrible, among the worst in the developed world. It’s slow, it’s hideously expensive, and a significant portion of the rural population is still on dial-up. I personally have a slow DSL connection via Verizon, one of a handful of enormous, nearly monopolistic providers. Verizon, however, seems to have given up earlier plans to build out its fiber optic network in favor of concentrating on its mobile network, which needless to say is not a viable option for the regular consumption of video for anyone who isn’t pulling a six-figure salary. And the two biggest cable providers, Comcast and Time Warner, recently announced plans for a merger, further reducing competition and thus any fucking incentive whatsoever to improve U.S. internet service.

Against this background came last month’s decision by a federal appeals court to strike down parts of the Federal Communications Commission’s admittedly Byzantine “net neutrality” rules cobbled together in 2010. This means that ISPs could start throttling the bandwidth from any website they choose, for any reason — and what uses more bandwidth than streaming video? It doesn’t help if an ISP is also a significant content provider such as Time Warner and doesn’t fancy the competition. YouTube’s owner Google could easily afford to reach agreements with ISPs. But could Vimeo, and the welter of smaller video hosting companies? What about start-ups bringing us the Next Big Thing in online video?

And sure enough: within weeks, charges were flying that Verizon was deliberately slowing down Netflix. With the second season of the über-popular American version of House of Cards, a web-only Netflix original, released this month, the politicians in D.C. might actually be paying attention, because the show is all about corrupt congressmen — and as we all know, politicians are a supremely self-regarding lot. Susan Crawford, author of Captive Audience: The Telecom Industry and Monopoly Power in the Gilded Age, said in an excellent interview on NPR’s Fresh Air that many if not most congressional representatives will admit in private that net neutrality is important, but may be afraid to say so publicly because of the power of the telecom industry. So let’s hope they and their aides are big House of Cards fans… and that their constituents keep up the pressure.

But the main action on net neutrality rules shifted from stop-gap measures in Congress back to the Federal Communications Commission this week, as FCC chair Tom Wheeler issued a statement recommending that the commission write new rules that the courts might find acceptable. Predictably, a telecom industry tool in the House of Representatives immediately proposed legislation that would block the FCC from doing this.

Comcast, meanwhile, announced that it had reached some sort of agreement with Netflix, as tens of thousands of people registered their discontent with the proposed Comcast-Time Warner merger via online petition sites, emails to the FCC, etc. Comcast are desperate to portray themselves as reasonable players — and Netflix is surely eager to hedge their bets in case net neutrality isn’t restored. Or as GigaOm writer Stacey Higginbotham put it:

There are two ways of interpreting this news. The first is that Netflix, worried about the threat of the FCC dismantling network neutrality and allowing ISPs to start charging content providers for delivering their traffic, decided to make a deal early when it could get lower prices. The second is the opposite; that Comcast, trying to appear benevolent as it seeks to create the largest broadband provider in the country via a merger with Time Warner Cable, peered with Netflix to avoid regulators asking tough questions.

Let’s take the optimistic scenario and assume that the FCC approves new net neutrality rules, the courts uphold them, and Congress doesn’t fuck with them. We’re still left with craptastic internet in the country that invented it. According to Susan Crawford, it may be years before that will change, and it will probably happen city by city and region by region in a piecemeal fashion. But at least net neutrality would provide a level playing field for new innovators — and allow me to continue surfing Vimeo and YouTube for new poetry videos on my 1.5 mps “broadband” connection from Verizon.

Vimeo overhauls its video player, introducing closed captioning and better HTML5 support

I’m a little slow in noticing this announcement from January 7 on the Vimeo staff blog. But it’s exciting stuff, with big consequences both for filmmakers and publishers who rely on Vimeo for video hosting.

A lot has changed since we launched the last all-new version of our player, two and a half years ago:

  • Browser innovation has brought new HTML5 capabilities (full-screen viewing is now available on every major desktop browser).
  • Smartphones have gotten more powerful (and in many cases, bigger), and the variety of smartphones has increased tremendously (three years ago, when we debuted the HTML player, there were only a handful in existence.)
  • Firefox added support for H.264 on mobile, Windows, and Linux (with OS X support on the horizon).
  • The introduction of devices that support multiple kinds of inputs (e.g., touch, mouse, and pen) at the same time.

With all these advancements, it was clear that we needed a more flexible and accommodating base for our player. So we did the only thing that made sense: we rebuilt the whole thing from scratch.

The player may look (mostly) the same on the surface, but behind the scenes we rethought everything from the ground up. Our re-engineered back end means that videos load twice as fast, and we simplified the front end to make it compatible with way more devices.

New features outlined in the post include faster playback, in-player purchasing, a redesigned share screen, new accessibility features, HTML5 by default (about time!), more responsiveness, and perhaps most significantly, closed captions/subtitles support.

This last is especially important for poetry films, I think, because many of us have tended to feel that putting words on the screen by default when the poem is already included in the soundtrack is redundant and distracting… for people who don’t have hearing problems. But those who do haven’t been very well served by this approach. It should also be a lot easier to reach readers in foreign languages now (given good translations, of course).

Read the whole post, and check out the new FAQ page on Captions and Subtitles.

Live poetry readings on the web: the Transatlantic Poetry Community

The Transatlantic Poetry Community on Google+ is doing something which, as far as I know, has never been done before on such a large scale (and with such major poets): delivering regular, live readings of poetry over the web. It uses “Hangouts on Air,” which are basically souped-up Google Hangouts saved instantly to YouTube, where past readings are archived. Each show so far has paired a poet from the U.S. with a poet from the U.K., each reading for 20 minutes to half an hour, followed by a joint Q&A in response to questions submitted on the Google page or on Facebook. Here are Michelle Bitting and Andrew Phillip; Jane Hirshfield and George Szirtes; and Marvin Bell and Esther Morgan.

The next reading is on Sunday, October 13, and features a half-dozen British poets: Katy Evans-Bush, Isabel Galleymore, Chris McCabe, Andrew Philip again, Paul Stephenson, and Claire Trévien. It’s part one of a two-part series in cooperation with Silk Road Review, which will conclude on Saturday, October 19.

I commend the organizer, Robert Peake, for what must be a tremendous amount of work, drawing on his expertise as a tech consultant as well as an American expatriate poet living outside of London. A page on his website is actually the best, most uncluttered place to bookmark for news and videos of the readings. It includes a stats counter for total views on the videos: 887 views in 43 countries as of October 4. His latest post on that page is a manifesto which outlines an ambitious program for expansion and partnering.

One does of course need a fairly good broadband connection to watch the readings live; I haven’t been able to watch it here in rural Pennsylvania, though I did enjoy the first two shows this summer when I was in London. Peake is a very good live host, and I’ve also been impressed by how politely but firmly he’s dealt with the narcissists on the Google community page who only want to post their own (inevitably terrible) poems. The show has had a few technical difficulties: an abrupt cut-off a few minutes from the end of the first show, and a muffled reading from Marvin Bell which required a make-up (non-live) reading video. Obviously for Hangouts on Air to work, care needs to be taken that participants have good cameras and microphones. But beyond the technical limitations are the inherent problems of reading poetry to an unseen, unheard audience. When I met Andrew Philip at the Filmpoem Festival in early August, I asked him how he’d handled that. He said something like, “It was strange at first, but I got used to it after a while.” I find I don’t enjoy the readings as much as I enjoy videos of readings before live audiences because I miss that feedback from the audience. Perhaps as the audience for Transatlantic Poetry builds, live reactions via Google, Facebook and Twitter can be given more prominence — integrated into a combined stream, perhaps, right beside or beneath the embedded video on Peake’s website? Barring that, I guess I’d prefer shorter readings and more time devoted to conversation between the poets and with the host. Another thing that seems slightly odd to me is the lack of any mention of Canada so far.

But enough of my obnoxious criticisms! Join the community and spread the word. I’ll conclude with a quote from the end of Peake’s manifesto:

What Transatlantic Poetry on Air ultimately represents is something greater than the sum of its parts. It is a manifestation of the growing trend of communication technology breaking down geographic barriers for poets and poetry-lovers to connect. Furthermore, the approach is economical, environmentally friendly, and accessible for those with restricted mobility.

In addition to the technological paradigm shift, enabling us to engage poets and their audiences in new ways, there is great interest overall for poets and poetry-lovers to connect globally. Poets on one side of the Atlantic recognise that they have much to gain from exposure to their counterparts across the sea. Transatlantic Poetry on Air therefore lies at the intersection between what poets and poetry-lovers increasingly want, and what is increasingly possible.

Transatlantic Poetry on Air aims to produce enjoyable, high-quality experiences throughout the lifecycle of each event for everyone involved. It aims also to be guided by its stated purpose and principles to evolve and expand over time, making it a fulcrum for the upliftment of global poetry in the twenty-first century.

How to replace a video at Vimeo without changing the link

In the past two days, two different filmmakers have contacted me to let me know that they’ve changed the Vimeo links for their films in the Moving Poems archive. On the one hand, I’m grateful to them for letting me know. I do sometimes comb the archives here for dead links, but not nearly often enough, and I appreciate hearing from users of the site when a video has disappeared. On the other hand, they wouldn’t have needed to switch URLs just to replace the video with a new version; they could’ve simply swapped in a new file. This is actually one of Vimeo’s most under-appreciated killer features, in my opinion. (And the fact that you can’t do this at YouTube is a good reason not to use it.) From the FAQs:

Can I replace a video and keep the URL, Stats, comments, etc?

You sure can!

From your video page, click Settings below the video player. From there, head to the Video File tab and click “Replace this video.” This allows you to upload a new video file while keeping the video URL, comments, Stats, likes, tags, and all the other information associated with the video.

During the replacement process, the original video will remain viewable while the new one is uploaded. Once the replacement video finishes uploading and begins conversion, the original video will no longer be viewable, and will soon be replaced.

So there will be just a short time during which the video isn’t viewable (a few minutes if you have a Plus or Pro account, longer if you have a free account and are uploading during a busy time of the day).

WordPress 3.6 will have native support for video and audio

If you’ve ever wanted to start your own video hosting site, it’s about to get easier. WordPress 3.6, currently in beta and due out soon, supports video and audio in core — it’s no longer necessary to use a plugin to generate media players for files uploaded to one’s own or another site.

At the core of the experience is the fantastic library, MediaElement.js. MediaElement is the facade layer that gives us maximum file support and cross-browser compatibility. While some libraries require a Flash-only solution to make your media work cross-environment, MediaElement lets you use HTML5 audio / video tags in every browser, and, only when necessary, will use a Flash or Silverlight plugin in the background to make incompatible media work. […]

MediaElement uses the same HTML markup, regardless of playback implementation, and you can use CSS to skin the players.

This provides a great deal of security for publishers, who will no longer have to rely on someone keeping an essential plugin updated. I would caution however that this new ease of use should not lure cash-strapped bloggers on cheap, shared hosting accounts (ahem, like me) to think that they can become the next Poetry Visualized. Hosting and reliably streaming a lot of videos, or videos that become too popular, will remain a high-resource enterprise. But for bigger organizations and institutions who want to retain full control of branding, and whose editorial staff aren’t highly tech-y, it should make video hosting a bit easier. Another use-case I can think of is the video artist who wants to share her work only on her own site and prevent others from embedding it, something that requires a paid membership at Vimeo.

In general, I think YouTube and Vimeo will remain preferable for most filmmakers and videopoets (and embedding such third-party videos in WordPress posts couldn’t be easier with the oEmbed functionality they added a couple of years ago), but it’s good to have this option in case the corporations decide to screw us.

“We add meaning to culture by remixing it”: Rick Prelinger on the value of preexisting material

Rick Prelinger, creator of the invaluable Prelinger Archive of ephemeral films which so many videopoets have drawn upon, has issued a newly updated and expanded version of his evolving manifesto at Contents magazine: “On the Virtues of Preexisting Material.” (There’s also an interview with Rick and Megan Shaw Prelinger in the same issue.) There are so many good points in this essay, it’s hard to resist the temptation to quote it all. But here are a few passages that stood out for me:

I don’t at all mean to criticize experimentation, but I think we need to experiment harder. Let’s ask more of ourselves rather than asking more of our software. And, while this is really hard when working with appropriated media, I’d suggest that we stop trying so hard to criticize existing media forms, and let them die by themselves. Instead, what might future forms look like? In other words, redeem recycling from a reactive mode and move it into a formative mode. Can we think about recycling as a point of origin?

My partner Megan and I run a research library in San Francisco that we built around our personal book, periodical, and ephemera collections. At some point it got a life of its own and started growing like mushrooms in Mendocino. We joke about how it’s a library full of bad ideas; I characterize it as 98% false consciousness. It’s full of outdated information, extinct procedures, self-serving explanations, ideas that never passed the smell test, and lies. And yet that’s where you find the truth.

Archives promise the possibility of a return to original, unmediated documents. I think this is part of their attraction to artists—the idea that we can touch and appropriate records without also having to inherit the corrupting crust that they’ve accreted over time. This is an Edenic fantasy, but it can also be a productive point of origin.

We add meaning to culture by remixing it. Putting something in a new context helps you see it with new eyes; it’s like bringing your partner home to the parents for the first time, or letting a dog loose to run in the waves.

While not shrinking from remixing the present, let’s enjoy the freedom that comes with working with public domain material. The public domain is the coolest neighborhood on the frontier. Use it or lose it.

Read the whole thing. And if you’d like to get into remixing public-domain and Creative Commons-licensed material to create your own videopoetic works, see our compilation of web resources for videopoem makers.

New version of Vimeo allows searching by Creative Commons license

A Vimeo redesign unveiled in late January for the first time allows users of the popular video hosting site to search for Creative Commons-licensed films. So far, the new design is available only to logged-in users on an opt-in basis. A “filters” box becomes visible on the upper right after one performs an initial search. A drop-down menu within the box allows one to filter the search results by each type of Creative Commons license — Attribution, Attribution-ShareAlike, etc. — but not all of them at once, or all of the ones that are free to modify (i.e. excluding those with “no derivatives” provisions). So it’s pretty basic yet, but better than nothing.

This is significant for videopoem/filmpoem makers looking for high-quality footage for a quick web project. For anything more elaborate, one would still probably want to do a general search, including traditionally copyrighted videos, and plan on asking permission. If using Creative Commons-licensed work, filmmakers should of course abide by the terms of the license, which at minimum means including the attribution in the film’s credits, and may also mean including the terms of the license and even licensing one’s own remix the same way (in the case of a “Share Alike” license), unless one gets specific permission from the copyright holder to waive those requirements. Please see my page of web resources for videopoem makers for links to more information on using Creative Commons-licensed material (as well as other sources of free-to-use video and the like).

“Video & Film Poetry” group on Vimeo

The video sharing site Vimeo tends to get a higher proportion of well-made videos than YouTube, but even still, many poetry-related videos uploaded to the site are not terribly impressive as examples of the filmmaker’s art. I know, because one of the primary ways I find new material for Moving Poems is by searching new Vimeo uploads for anything with the word “poem” in the title, tags or description. I see a lot of dreck.

So I’m very impressed with the new Vimeo group devoted to Video & Film Poetry, which was founded by Brenda Clews just a couple months ago. She had tried to convince me to start such a group, but I declined on the grounds that I was already doing enough here, so she went ahead and founded the group herself — and I think the results so far speak for themselves: a lot of interesting and innovative videopoets have joined the group now, and are adding their new uploads as well as other people’s videos that they might happen to know about. There’s some commenting, but so far it’s been mainly a place to share and discover new work.

This isn’t the first Vimeo group to welcome poetry videos, but I believe it’s the first to take curating seriously. The problem with completely open poetry-sharing sites is that the bad poetry (or videopoetry, in this case) tends to drive out the good. The crucial difference with the Video & Film Poetry group is that, though anyone can comment or participate in the (so-far-unused) forums, only members can add videos or invite new members. If you’re on Vimeo and you’d like an invitation, let me know.

How to make subtitles for videos with YouTube captioning — new tutorial

Brenda Clews — sometime contributor to this forum and author of several videopoems on the main site — has knuckled down and figured out how to add subtitles to her YouTube videos using CaptionTube. Needless to say, captioning is an extremely valuable addition to videos not only for accessibility, but also to offer English translations of videopoems in other languages that can be turned off by those who know the languages. And YouTube captions in any of Google Translate’s languages can be machine-translated with a click of a button into any other. Brenda shares what she’s learned so far in a post at her blog.

Free stock footage on Vimeo

Thanks once again to Nic S. for one of the latest additions to our growing list of resources for videopoem makers: a Vimeo group dedicated to sharing free HD stock footage. It’s the work of Phil Fried from Austria, and imposes only the condition that users not sell or redistribute the clips elsewhere. There are currently 149 videos in the group. It’s particularly good for nature imagery: flowers, sunsets, the beach, and animals.

Another user on Vimeo (found via the links in the aforementioned group) goes by the handle Free Stock Footage, and has so far uploaded 85 videos “free to use in non-commercial projects” (though donations are appreciated). The videographer appears to be a resident of Alberta, Canada, and includes some great sky, water and landscape footage, a few wildlife videos, and some random CGI stuff.

“Howl” now available on Hulu

The new feature-length film-poem HOWL, directed by Rob Epstein and Jeffrey Friedman, can now be seen for free on Hulu. I thought about posting it to the main site — Hulu films are embeddable — but apparently it can’t be seen overseas. I’m also told it’s available for no extra charge to anyone with a Netflix subscription. And of course the DVD is for sale.

I watched it last night and thoroughly enjoyed it, conditioned as I was by more than two years of curating Moving Poems: a brilliant melange of animation, drama, interview and flashback, I thought. I posted a review of sorts at Via Negativa.

Poetry animator Jim Clark’s YouTube account suspended

UPDATE (2/15/11): As Jim informs us in a comment (see below), he’s back with a new YouTube account.

Sometime in the past two or three weeks, Jim Clark’s poetryanimations channel at YouTube was terminated. Alex Cigale just discovered this today when going back to look at Clark’s video for the Russian Symbolist poet Zinaida Gippius. The notice on what used to be his account page reads,

YouTube account poetryanimations has been terminated because we received multiple third-party notifications of copyright infringement from claimants including:

* Walt Whitman House/Walt Whitman Association
* Walt Whitman House/Walt Whitman Association
* Walt Whitman House/Walt Whitman Association

So multiple complaints from a single source? Perhaps they objected to the use of some still image they held copyright on, since Clark’s technique was to “reanimate” dead poets through computer manipulations of photos or paintings, often with fairly realist results. I’ve only posted a couple, but Clark produced well over a hundred. Many of them can still be viewed at (and embedded from) DailyMotion, if you can put up with the ads. Here’s a Walt Whitman one to illustrate his technique (maybe one of the ones that sparked the complaint?):

It seems odd that Clark would put such a prominent copyright notice of his own on the video, since there’s no indication that he had permission to use Garrison Keilor’s audio. But what do I know?