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.