I wrote this a few weeks ago with the first text-only videopoem I made:
I remembered that in Tom Konyves’ videopoetry manifesto, he categorized videopoems according to their usage of text, with two key distinctions drawn between sound text and visual text. (He also asserted that visual text is ‘charged with leading’ the videopoetry genre, although I’m not sure I agree with that.) I realized that what with Whale Sound and Voice Alpha and now this interest in videopoetry, I’ve been engaged with ‘sound’ text almost exclusively for months now. The idea of making a videopoem without voice and with only visual text was therefore appealing.
I’ve now put together three vpoems with text only and no voice (links at bottom of this post). This is what I have learned so far, and, very interested, continue to ponder:
- Text is not a ‘poor relation’ to voice in videopoems. Not sure why or how I had absorbed this ‘fact’, but I had. Text is a different mechanism from voice. In videopoems text can be as strong (or stronger, if the voice alternative available is relatively weak) a mechanism as voice.
- Text used in videopoems is not like text on the page – it is more a text/voice hybrid, a halfway mark between both.
- This is probably because a) text on the page is a block, all visible, all together, in front of you while b) voice is a ribbon of sound unfurling for you – each word takes the place of the previous one, which disappears in front of it.
-Text in a videopoem takes on the ‘ribbon unfurling’ aspect of voice – each word takes the place of the previous one, which disappears in front of it.
- Text can be an active, communicative character in the performance that is videopoem.
- Text-as-ribbon can very competently (or more competently, depending on the strength of the voice alternative available) convey the nuances that voice-as-ribbon conveys – font, font size, text animation, sound/sense byte, pace – all these are elements that can convey feeling, cadence, tone, emotion.
- Text-as-ribbon, like voice-as-ribbon, is not a great respecter of linebreaks and other page-centric devices – the best way to present a sound/sense byte as text on the screen is not necessarily the way it is laid out on the page.
- Videopoem makers who are tired of or don’t trust the sound of their own voice need not be limited by the ‘voicings’ available to them, by whatever means – have at it with text, people!
How awesome is this – my videopoem, ‘this time next year’ published at Tongues of the Ocean?!
Pizzicati of Hosanna
“dead poets’ poems read by Nic Sebastian in English & other languages”
Reasons for this project – One: Whale Sound was all contemporary poetry, so poets’ reactions to recordings of their work, our desire to promote that work, and real-time interactions with poets were ever-present considerations. Pizzicati of Hosanna will only tackle work by dead poets, positing a fundamentally different paradigm for exploration.
Two: What’s it like to read poetry aloud for an audience in different languages? Without being any kind of real polyglot, I have a modest working knowledge of French, Spanish and Italian, and a fair ear, although I’ve never tried reading any non-English poetry aloud for an audience (in my view the best and quickest way to get deepest inside a poem). So here we are, stepping out as usual in bright hope & deep ignorance, accompanied by a battery of dictionaries, translation tools and pronunciation guides…
On second thought, ‘hiatus’ felt wishy-washy and indecisive. I meant ‘closed’ and should have said so: Whale Sound is now closed. Feeling a bit sad, but it’s time.
It’s been a terrific year at Whale Sound but it’s time to take a break. Going forward, we may occasionally solicit a poem for reading, but we will not be accepting submissions for the foreseeable future. Activity on this blog and on Facebook/Twitter activity will slow down as well.
A few highlights from the Whale Sound year:
- Whale Sound started up a year and one month ago in August 2010
- Published readings of poems by 212 poets
- Published 7 audio chapbooks in multiple formats – website, e-book, PDF and print – most of them free
- Coordinated and participated in 8 group readings
- Established Voice Alpha, a group blog focusing on the art of reading poetry aloud for an audience (I will continue to post here occasionally and hope my fellow contributors will do the same)
- Collaborated on two videopoem tryptich projects with film-maker Swoon – Night Vision and Propolis (the latter also with Kathy MacTavish)
- Established videpoetry channels on You Tube and Vimeo (videpoetry is an area that continues to fascinate us and we will continue to post at these channels)
Meanwhile, these are the 20 Whale Sound posts receiving the most listener clicks – check them out!
- ‘If You Were A Bird‘ by Aditi Machado
- ‘Infinity‘ by Tess Kincaid
- [a group of jellyfish is called a ‘smack.’ a group of lapwings is called a ‘deceit.’] by Chella Courington
- ‘Something Brighter Than Pity‘ by Carolina Ebeid
- ‘A Different Leaving‘ by Terresa Wellborn
- ‘A Week Before You Die, You Are Singing’ by Erin Elizabeth Smith
- ‘Sometimes I Still Dream About Their Pink Bodies‘ by Kelli Russell Agodon
- ‘Lament‘ by Jill Alexander Essbaum
- ‘The Trains‘ by Adele Kenny
- ‘A Bigfoot Poem‘ by Dave Bonta
- Group reading: ‘The Slender Scent’ by James Robison
- ‘Ode to Drunkenness and Other Criminal Activities‘ by Rebecca Loudon
- ‘At Ruby’s Diner‘ by Sherry O’Keefe
- ‘Sink or Float [quick fix witch]‘ by Juliet Cook
- ‘How To Fall In Love‘ by Susan Elbe
- ‘The Way Back‘ by Kathleen Kirk
- ‘In Which Christina Imagines That Different Types Of Alcohol Are Men And She Is Seeing Them All‘ by Christina Olson
- ‘For The Woman On The Boulevard‘ by Emma Trelles
- Group reading: ‘Acceptance is to her a phenomenon’ by Ann Bogle
- ‘About a Fish‘ by Ana Božičević