Category Archives: poetry

PoetryFilm news: January 2016 issue (around the world)

On Jan. 9, 2016 the latest issue (January 2016) of PoetryFilm News landed in my email box (*Note: There’s a long blank space between the last excerpt and my last comments. I’m sorry but I can’t figure what’s causing it. sigh*),

Forthcoming in 2016
  • I [Zata Banks] have been awarded a 3-month Artist-Researcher residency at the Skagastrond Research Library in Iceland in association with The University of Iceland. … (January – April 2016)
  • Collaboration with The University of Lincoln [UK] on a Poetry + Film creative module for the BA Graphic Design course, including a lecture, and evaluating the final student work (January – March 2016)
  • Screening of a selection of psychoanalysis-informed poetry film artworks taken from The PoetryFilm Archive + psychoanalytic discussion at The Freud Museum, London [UK] (March 2016, exact date TBC)
  • Lecture at Millfield School [UK] about the poetry film artform to inspire sixth form students to make their own poetry film artworks (April 2016)
  • I [Zata Banks] have been invited to judge the USA-based Carbon Culture Review poetry film competition (closing date April 2016).

The Carbon Culture Review (CCR; its focus is on new literature, art, technology, and contemporary culture) poetry film competition was last mentioned here in an Oct. 30, 2015 posting. Since then more information (deadline extension and a broader scope for entries) about the competition has been made available. From the CCR Poetry Film webpage,

Poetry Film Prize

We want to integrate film and literary culture. Carbon Culture will award a $1,000.00 prize for the best poetry film. Zata Kitowski [now Banks], director of PoetryFilm, will pick the grand prize winner and finalists. The winning entry will receive $1,000.00. The top five entries will receive high-profile placements across our social media networks, a one page note alongside honorable mentions in our newsstand print and device editions. Deadline for submissions is April 1, 2016.

By submitting, you grant CCR the right to publish selected poetry films in our online issue as well as recognition in our print issue. All rights revert to the film creator(s) and/or submitter.

Rules for Submission

  1. Create a video adaptation of your original, unpublished poem.
  2. Post the video to a Youtube or Vimeo account and make it live.
  3. Submit the piece as an .Mp4 alongside your bio or team member’s bios to us.
  4. One submission per poet, please. If you previously created a poetry film for our initial guidelines listed in early 2015 for John Gosslee’s poem before we opened the contest to any original poem, you may submit this and one other poetry film for consideration.

Prize Announcements will be made in July 2016. Payment will be made via Paypal.

Film Types

All visual and textual interpretations of any contemporary poem written by you or someone on your team are welcome. Animation (digital or cartoon,) live action, kinetic poems, stop motion, anything you can imagine. We are looking for literal and non-literal interpretations of the poem. How long should it be? That is up to you. Poetry is meant to be heard and we encourage audio.

Eligibility

The prize is open to poets, students, individuals and teams.

You can go here to submit your piece and if you haven’t already, you will need to create an account.

*’Note’ added Jan. 12, 2016 at 1250 PST.

Upcoming PoetryFilm appearances and events

It’s been a while since I last (in a March 17, 2015 post) featured PoetryFilm. Here’s the latest from the organization’s Oct. 2015 newsletter,

Forthcoming
  • I have been invited to join the International Jury for the CYCLOP International Videopoetry Festival, 20-22 November 2015 (Kiev, Ukraine)
  • PoetryFilm Paradox events, featuring poetry films about love, as part of the BFI LOVE season, 6 and 22 December 2015 (London, UK)
  • PoetryFilm screening + Zata Banks in conversation with filmmaker Roxana Vilk at The Scottish Poetry Library, 3 December 2015 (Scotland, UK)
  • I have been invited to judge the Carbon Culture Review poetry film competition (USA)
  • poetryfilmkanal in Germany recently invited me to write an article about the poetry film artform – it can be read here

FYI, the “I” in the announcement’s text is for Zata Banks, the founder and director of PoetryFilm since 2002.

There’s more about the CYCLOP International Videopoetry Festival in a Sept. 13, 2015 posting on the PoetryFilm website,

*The 5th CYCLOP International Videopoetry Festival will take place on 20 – 22 November 2015 in Ukraine (Kyiv). The festival programme features video poetry-related lectures, workshops, round tables, discussions, presentations of international contests and festivals, as well as a demonstration of the best examples of Ukrainian and world videopoetry, a competitive programme, an awards ceremony and other related projects.

One of the projects is a new Contest for International poetry films within the framework of the CYCLOP festival. The International Jury: Alastair Cook (Filmpoem Festival, Edinburgh, Scotland), Zata Banks (PoetryFilm, London, United Kingdom), Javier Robledo (VideoBardo, Buenos Aires, Argentina), John Bennet (videopoet, USA),  Alice Lyons (Videopoet, Sligo, Ireland), Sigrun Hoellrigl (Art Visuals & Poetry, Vienna, Austria), Lucy English (Liberated Words, Bristol, United Kingdom), Tom Konyves (poet, video producer, educator and a pioneer in the field of videopoetry, British Columbia, Canada), Polina Horodyska (CYCLOP Videopoetry Festival, Kyiv, Ukraine) and Thomas Zandegiacomo (ZEBRA Poetry Film Festival, Berlin, Germany).

*Copy taken from the CYCLOP website

You can find the CYCLOP website here but you will need Ukrainian language reading skills.

I can’t find a website for the Carbon Culture Review poetry film competition or a webpage for it on the Carbon Culture Review website but  here’s what they have to say about themselves on the journal’s About page,

Carbon Culture Review is a journal at the intersection of new literature, art, technology and contemporary culture. We define culture broadly as the values, attitudes, actions and inventions of our global society and its subcultures in our modern age. Carbon Culture Review is distributed in the United States and countries throughout the world by Publisher’s Distribution Group, Inc. and Annas International as well as digitally through 0s&1s, Magzter and Amazon. CCR is a member of Councils of Literary Magazines and Presses and also publishes monthly online issues.

The last item from the announcement that I’m highlighting is Zata’s essay for poetryfilmkanal ,

Poetry films offer creative opportunities for exploring new semiotic modes and for communicating messages and meanings in innovative ways. Poetry films open up new methods of engagement, new audiences, and new means of self-expression, and also provide rich potential for the creation, perception and experience of emotion and meaning.

We are surrounded by communicative signs in literature, art, culture and in the world at large. Whilst words represent one system of communicating, there are many other ways of making meanings, for instance, colour semiotics, typographic design, and haptic, olfactive, gustatory and durational experiences – indeed, a comprehensive list could be infinite. The uses of spoken and written words to communicate represent just two approaches among many. Through using meaning-making systems other than words, by communicating without words, or by not using words alone, we can bypass these direct signifiers and tap directly into pools of meaning, or the signifieds, associated with those words. Different combinations of systems, or modes, can reinforce each other, render meanings more complex and subtle, or contrast with each other to illuminate different perspectives. Powerful juxtapositions, associations and new meanings can therefore emerge.

The essay is a good introduction for beginners and a good refresher for those in need. Btw, I understand Zata got married in March 2015. Congratulations to Zata and Joe!

ISEA (International Symposium on Electronic Arts) 2015 and the pronoun ‘I’

The 2015 International Symposium on Electronic Arts (or ISEA 2015) held  in Vancouver ended yesterday, Aug. 19, 2015. It was quite an experience both as a participant and as a presenter (mentioned in my Aug. 14, 2015 posting, Sneak peek: Steep (1): a digital poetry of gold nanoparticles). Both this ISEA and the one I attended previously in 2009 (Belfast, Northern Ireland, and Dublin, Ireland) were jampacked with sessions, keynote addresses, special events, and exhibitions of various artworks. Exhilarating and exhausting, that is the ISEA experience for me and just about anyone else I talked to here in Vancouver (Canada). In terms of organization, I have to give props to the Irish. Unfortunately, the Vancouver team didn’t seem to have given their volunteers any training and technical difficulties abounded. Basics such as having a poster outside a room noting what session was taking place, signage indicating which artist’s work was being featured, and good technical support (my guy managed to plug in a few things but seemed disinclined or perhaps didn’t have the technical expertise (?) to troubleshoot prior to the presentation) seemed elusive (a keynote presentation had to be moved due to technical requirements [!] plus no one told the volunteer staff who consequently misdirected people). Ooops.

Despite the difficulties, people remained enthusiastic and that’s a tribute to both the participants and, importantly, the organizers. The Vancouver ISEA was a huge undertaking with over 1000 presentation submissions made and over 1800 art work submissions. They had 900+ register and were the first ISEA able to offer payment to artists for their installations. Bravo to Philippe Pasquier, Thecla Schiphorst, Kate Armstrong, Malcolm Levy, and all the others who worked hard to pull this off.

Moving on to ‘I’, while the theme for ISEA 2015 was Disruption, I noticed a number of presentations focused on biology and on networks (in particular, generative networks). In some ways this parallels what’s happening in the sciences where more notice is being given to networks and network communications of all sorts.  For example, there’s an Aug. 19, 2015 news item on ScienceDaily suggesting that our use of the pronoun ‘I’ may become outdated.  What we consider to be an individual may be better understood as a host for a number of communities or networks,

Recent microbiological research has shown that thinking of plants and animals, including humans, as autonomous individuals is a serious over-simplification.

A series of groundbreaking studies have revealed that what we have always thought of as individuals are actually “biomolecular networks” that consist of visible hosts plus millions of invisible microbes that have a significant effect on how the host develops, the diseases it catches, how it behaves and possibly even its social interactions.

“It’s a case of the whole being greater than the sum of its parts,” said Seth Bordenstein, associate professor of biological sciences at Vanderbilt University, who has contributed to the body of scientific knowledge that is pointing to the conclusion that symbiotic microbes play a fundamental role in virtually all aspects of plant and animal biology, including the origin of new species.

In this case, the parts are the host and its genome plus the thousands of different species of bacteria living in or on the host, along with all their genomes, collectively known as the microbiome. (The host is something like the tip of the iceberg while the bacteria are like the part of the iceberg that is underwater: Nine out of every 10 cells in plant and animal bodies are bacterial. But bacterial cells are so much smaller than host cells that they have generally gone unnoticed.)

An Aug. 19, 2015 Vanderbilt University news release, which originated the news item, describes this provocative idea (no more ‘I’)  further,

Microbiologists have coined new terms for these collective entities — holobiont — and for their genomes — hologenome. “These terms are needed to define the assemblage of organisms that makes up the so-called individual,” said Bordenstein.

In the article “Host Biology in Light of the Microbiome: Ten Principles of Holobionts and Hologenomes” published online Aug. 18 [2015] in the open access journal PLOS Biology, Bordenstein and his colleague Kevin Theis from the University of Michigan take the general concepts involved in this new paradigm and break them down into underlying principles that apply to the entire field of biology.

They make specific and refutable predictions based on these principles and call for other biologists to test them theoretically and experimentally.

“One of the basic expectations from this conceptual framework is that animal and plant experiments that do not account for what is happening at the microbiological level will be incomplete and, in some cases, will be misleading as well,” said Bordenstein.

The first principle they advance is that holobionts and hologenomes are fundamental units of biological organization.

Another is that evolutionary forces such as natural selection and drift may act on the hologenome not just on the genome. So mutations in the microbiome that affect the fitness of a holobiont are just as important as mutations in the host’s genome. However, they argue that this does not change the basic rules of evolution but simply upgrades the types of biological units that the rules may act upon.

Although it does not change the basic rules of evolution, holobionts do have a way to respond to environmental challenges that is not available to individual organisms: They can alter the composition of their bacterial communities. For example, if a holobiont is attacked by a pathogen that the host cannot defend against, another symbiont may fulfill the job by manufacturing a toxin that can kill the invader. In this light, the microbes are as much part of the holobiont immune system as the host immune genes themselves.

According to Bordenstein, these ideas are gaining acceptance in the microbiology community. At the American Society of Microbiology General Meeting in June [2015], he convened the inaugural session on “Holobionts and Their Hologenomes” and ASM’s flagship journal mBio plans to publish a special issue on the topic in the coming year. [emphases are mine]

However, adoption of these ideas has been slower in other fields.

“Currently, the field of biology has reached an inflection point. The silos of microbiology, zoology and botany are breaking down and we hope that this framework will help further unify these fields,” said Bordenstein.

Not only will this powerful holistic approach affect the basic biological sciences but it also is likely to impact the practice of personalized medicine as well, Bordenstein said.

Take the missing heritability problem, for example. Although genome-wide studies have provided valuable insights into the genetic basis of a number of simple diseases, they have only found a small portion of the genetic causes of a number of more complex conditions such as autoimmune and metabolic diseases.

These may in part be “missing” because the genetic factors that cause them are in the microbiome, he pointed out.

“Instead of being so ‘germophobic,’ we need to accept the fact that we live in and benefit from a microbial world. We are as much an environment for microbes as microbes are for us,” said Bordenstein.

Here’s a link to and a citation for the paper,

Host Biology in Light of the Microbiome: Ten Principles of Holobionts and Hologenomes by Seth R. Bordenstein and Kevin R. Theis. PLOS DOI: 10.1371/journal.pbio.1002226 Published: August 18, 2015

This is an open access paper.

It’s intriguing to see artists and scientists exploring ideas that resonate with each other. In fact, ISEA 2015 hosted a couple of sessions on BioArt, as well as, having sessions devoted to networks. While, I wasn’t thinking about networks or biological systems when I wrote my poem on gold nanoparticles, I did pose this possibility (how we become the sum of our parts) at the end:

Nature’s alchemy
breathing them
eating them
drinking them
we become gold
discovering what we are

As for how Raewyn handled the idea, words fail, please do go here to see the video here.

Three Vancouver (Canada) science events: Vancouver Public Library on April 27, 2015, Café Scientifique on April 28, 2015, and the Wall Exchange on May 26, 2015

Monday, April 27, 2015, 7:00 pm – 8:30 pm is a combined bee/poetry event at the main branch of the Vancouver Public Library. From the Vancouver Public Library “Honey, Hives, and Poetry in the City” event page,

Celebrate National Poetry Month by investigating food and poetry as a means of cultural and social activism and community building. Featured will be:

  • Rachel Rose, Poet Laureate of Vancouver
  • A collaborative reading by scientist and author Mark L. Winston (Bee Time: Lessons from the Hive) and award winning poet Renee Sarojini Saklikar (Children of Air India)
  • Readings from author and poet Elee Kraljii Gardiner and the Thursdays Writing Collective.
  • Presentation and honey tasting with Hives for Humanity.

Location:

Address: 350 West Georgia St.
VancouverV6B 6B1

  • Phone:

Location Details: Alice MacKay Room, Lower Level

[ETA April 21, 2015 at 1000 PST: I’ve just embedded a video which launches a new year of Science Rap Academy (Tom McFadden) in my April 21, 2015 post titled: Please, don’t kill my hive! (a Science Rap Academy production).]

*Change of Speaker for April 28, 2015  Café Scientifique, see Café Scientifique (Vancouver, Canada) makes a ‘happy’ change: new speaker for April 28, 2015 posting.”*

The day after the bee/poetry event, Tuesday, April 28, 2015  Café Scientifique, held in the back room of The Railway Club (2nd floor of 579 Dunsmuir St. [at Seymour St.], will be hosting a talk on pain (from the April 13, 2015 announcement,

Our speakers for the evening will be Dr. Matthew Ramer and Dr. John Kramer.  The title of their talk is:

Knowing Pains: How can we study pain to better treat it?

Pain is arguably the most useful of sensations.  It is nature’s way of telling us to stop doing whatever it is we are doing in order to prevent damage, and to protect injured body parts during the healing process.  In the absence of pain (in certain congenital conditions and in advanced diabetes, for example), the consequence can be loss of limbs and even of life.

There are circumstances, however, when pain serves no useful purpose:  it persists when the injury has healed or occurs in the absence of any frank tissue damage, and is inappropriate in context (previously innocuous stimuli become painful) and magnitude (mildly painful stimuli become excruciating).  This is called neuropathic pain and is incredibly difficult to treat because it is unresponsive to all of the drugs we use to treat normal, useful (“acute”) pain.

Ultimately, our research is aimed at finding new ways to minimise suffering from neuropathic pain.  Prerequisites to this goal include understanding how normal and neuropathic pain are encoded and perceived by the nervous system, and accurately measuring and quantifying pain so that we can draw reasonable conclusions about whether or not a particular treatment is effective.  We will discuss some historical and current ideas of how pain is transmitted from body to brain, and emphasize that the pain “channel” is not hard-wired, but like the process of learning, it is plastic, labile, and subject to “top-down” control.  We will also tackle the contentious issue of pain measurement in the clinic and laboratory.*

Both speakers are from iCORD (International Collaboration On Repair Discoveries), an interdisciplinary research centre focused on spinal cord injury located at Vancouver General Hospital. There’s more about Dr. Matt Ramer here and Dr. John Kramer here.

*Change of Speaker for April 28, 2015  Café Scientifique, see Café Scientifique (Vancouver, Canada) makes a ‘happy’ change: new speaker for April 28, 2015 posting.”*

The Wall Institute for Advanced Studies is bringing Dr. Bonnie Bassler, the bacteria whisperer, to speak in Vancouver. From the Wall Exchange series event page,

Dr. Bonnie Bassler, Molecular Biology, Princeton University

The Secret Social Lives of Bacteria

May 26, 2015
7:30 pm. Doors open at 6:30 pm.
Vogue Theatre, 918 Granville Street, Vancouver

Tickets available online, 2015 or by calling the Vogue Theatre Box Office: 604-569-1144

Learn more:

Bacterial behaviour may hold key to combatting antibiotic resistance
The Wall Papers

Here are some more details about the tickets, the event, and the speaker from the Northern Tickets event page,

Bonnie Bassler
The Secret, Social Lives of Bacteria
Vogue Theatre
Tuesday May 26th, 2015
Doors 6:30PM, Begins 7:30PM
Free Entry
**Tickets must be redeemed by 7:15PM to be valid**

Dr. Bonnie Bassler is an investigator with the Howard Hughes Medical Institute and Squibb Professor and Chair of the Department of Molecular Biology at Princeton University. The research in Dr. Bassler’s laboratory focuses on the chemical signaling mechanisms that bacteria use to communicate with each other known as “quorum sensing.” Therapies that block quorum sensing activity may represent an important new strategy for combating bacterial infections. Her research reveals new insights into the basic biology and ecology of bacteria; findings that may have direct application in the future treatment of disease.

Vogue Theatre
918 Granville Street – Vancouver

Go forth and enjoy!

* Removed ‘,t’ at very end of Café Scientifique excerpt on April 24, 2015.

Interactive haiku from Canada’s National Film Board

This comes from an April 2, 2015 posting on Canada’s National Film Board blog,

Designed to surprise, move, and inspire thought, Interactive Haiku will be released throughout the month of April, with 4 stories launching today. The project will also be featured at this year’s Tribeca Film Festival, as part of Tribeca Film Institute Interactive’s “Interactive Playground.”

Recently, the NFB and ARTE [France, interactive platform] asked creators to experiment a new kind of short interactive work: the very short form, or digital equivalent of the haiku. The 12 winning proposals come from 6 different countries and were selected out of 162 submissions from 20 nations.

The projects are accessible online or via tablets.

All of the interactive haiku follow 10 creative rules. These include: a 60-second time limit; being accessible to an international audience, and creating an experience that nudges us to see the world differently.

Discover the first 4 of these bite-sized, mind-jolting experiences below, along with some creative footnoting, courtesy of their vanguard creators.

Don’t want to miss a haiku? Subscribe to receive an e-mail notification (top left corner)! A new haiku will be released every Monday and Thursday of April (except for Easter Monday.)

Here’s a description of the four haiku pieces released in the first batch (from the April 2, 2015 NFB posting),

Cat’s Cradle

by Thibaut Duverneix, David Drury, Jean-Maxime Couillard, Gentilhomme (Canada)

HAIKUS_03-CATS-CRADDLE_550px

A game of strings, frequencies, stars, and distances. Elegantly explore the theory of everything! (Experience Cat’s Cradle)

Who knew theoretical physics’ Superstring theory was such child’s play?!

“What is fascinating about [Superstring] theory is that it is extremely hard to prove – it forces mathematics and physics to work in an imaginary and deeply complex sandbox. The theory and its implications give rise to a wealth of poetic, even romantic, imagery, which is where our treatment begins.

In our interactive haiku, we propose a novel conception of this topic, treating it metaphorically with one of the most playful, simple and naive of childhood games: cat’s cradle.”

*

Speech Success

by Roc Albalat, Pau Artigas, Jorge Caballero and Marcel Pié (Spain)

HAIKUS_01-SPEECH-SUCCESS_550px

The crowd is huge, tightly packed, and merciless. All eyes are on you. Will you be cheered… or will you flame out? (Experience Speech Success)

“If the haiku is based on the poet’s amazement at the sight of nature, here we look at certain attitudes toward technology – our present environment.

[Our haiku] gives a parodic representation of online social relationships. The Internet works as a public screen through which we try to break our isolation and be recognized. Often, our public shows of vanity don’t find targets: that’s why we have created a virtual public. We’ve programmed this audience to react to mood: the spectators’ reaction varies according to the speaker’s emotional intensity. The aim is to be ironic about our attempts to be heard on the network: finally you find somebody on the other side of the screen that listens and understands you –  for 60 full seconds.”

*

Life is Short

by Florian Veltman and Baptiste Portefaix (France)

HAIKUS_11-LIFE-IS-SHORT_550px

From first to last words, everything goes by too fast. Relive the key moments of your life in a few seconds. (Experience Life is Short)

“As time goes by, our lives begin to appear shorter and shorter. And yet, we rarely take the time to stop and contemplate everything we’ve lived through and are still experiencing in the moment. Our haiku offers a quick opportunity to stop and reflect on time, memory, and our own inexorable demise. But pay attention! Life is Short can be only be enjoyed once – like life itself.”

*

Music is the Key of Life

by Theodor Twetman and Viktor Lanneld (Sweden)

HAIKUS_07-MUSIC-IN-THE-KEY-OF-LIFE_550px

Everyday objects possess an innate melody. Scan the barcodes of the objects around you and let the music play! (Experience Music is the Key of Life)

“Our haiku takes something ever-present but seldom noticed – the barcode – and makes it the star of the show. Relying on the camera, a tool seldom used in web applications, it brings interactivity beyond what’s on the screen, forcing the user to interact with physical objects that aren’t usually perceived as valuable or interesting.

In normal life, the barcode announces its presence with a simple beep noise when scanned at the supermarket. With our haiku, each code is given the opportunity to be noticed for its uniqueness, perhaps helping people notice and appreciate their beauty and the hard work they do.”

Enjoy!

Poetry in Vancouver (Canada), Barcelona, and elsewhere; The Analysis of Beauty video documentation

Vancouver

Wednesday, March 18: Lunch Poems at SFU | Erín Moure and Andrew McEwan

Time: 12pm
Place: Teck Gallery, Harbour Centre, 515 West Hastings St.

Cost: Free. No registration required.

Erín Moure writes in English and Galician and translates poetry from French, Galician, Spanish and Portuguese into English by, among others, Nicole Brossard, Chus Pato and Fernando Pessoa. Her work also appears in short films, theatre, and musical compositions.

Andrew McEwan is the author of the book, Repeater, shortlisted for the Gerald Lampert Award, which employs the ASCII binary code for letters to create poetry that has been described as “mesmerizingly lyrical and theoretically rigorous.”

You can find the webpage for this particular event here; it includes some additional biographical information.

Barcelona and more

I received poetry news from Zata* Banks* of PoetryFilm back in February 2015. While some of the events have occurred there are still these to come,

March 2015

  • Two PoetryFilm presentations at CCCB Barcelona, 18-19 March 2015
  • Zata will present an academic talk, The PoetryFilm Archive 2002-2015, at the AHRC-funded Pararchive conference at Leeds University, 27-28 March 2015
  • Zata to judge the Read Our Lips poetry film competition organised by Apples and Snakes, 28 March 2015

April 2015

  • PoetryFilm at the Alchemy Film & Moving Image Festival, Hawick, Scotland, 16-19 April 2015
  • PoetryFilm event at the sound acts festival in Athens, Greece, 24-26 April 2015
  • PoetryFilm event at the Wenlock Poetry Festival, UK, 24-26 April 2015

May 2015

  • PoetryFilm at Cannes Film Festival 2015, Cannes, France

June 2015

August 2015

  • Exhibition of artworks in Denmark, 9-21 August 2015

For anyone unfamiliar with Zata* Banks*(from the PoetryFilm’s About page),

Zata Kitowski is the founder and director of PoetryFilm, an international research art project launched in 2002. The PoetryFilm project explores semiotics and meaning-making within the poetry film artform, celebrating experimental poetry films and other avant-garde text/image/sound screening and performance material. PoetryFilm was founded through Zata’s personal practice as a writer and as an artist, and through an interest in the creation and perception of emotion and meaning.

Since 2002, PoetryFilm has produced over 60 events at cinemas, galleries, literary festivals and academic institutions – including Tate Britain, The ICA, Southbank Centre, Cannes Film Festival, CCCB Barcelona, O Miami, and Curzon Cinemas (see Past Events page for more). Talks about PoetryFilm include sessions for MA Creative Writing at Warwick University, MA Filmmaking at The National Film & Television School, and MA Visual Communication at The Royal College of Art. Zata has also judged poetry film prizes at the Southbank Centre and Zebra Festival in Berlin.

PoetryFilm is supported by Arts Council England, who recently funded the cataloguing of the entire PoetryFilm Archive, which at present contains over 500 international artworks. In March 2015 Zata will contribute an academic  presentation about this archive to an AHRC-funded conference at Leeds University. PoetryFilm is an accredited member of Film Hub London, part of the BFI Audience Network, and holds a trademark awarded by the Intellectual Property Office.

There is more about the CCCB appearance in Barcelona on this webpage,

PoetryFilm will present two programmes at the Kosmopolis Amplified Literature Festival at CCCB Barcelona on 19 and 20 March 2015. 

Both programmes are listed below.

Programme 1:

Reversed Mirror Eduardo Kac / 1997, 7’, V.O.
Lunar Tides Susan Trangmar / Regne Unit, 2014, 9’, V.O.
Sandpiper John Scott / Canadà, 2014, 3’30’’, V.O.
Full Stop Zata Kitowski [now Banks]* / Regne Unit, 2014, 4’30’’, V.O.
Turbines in January Kate Sweeney i Colette Bryce / Regne Unit, 2013, 2’, V.O.
Self-Evident Things Piotr Bosacki / Polònia, 2013, 10’, V.O.S.Anglès
Dream Poem Dann Casswell / Regne Unit, 2006, 1’30’’, V.O.
Afterlight Timothy David Orme / Estats Units, 2013, 3’, V.O.
The Portrait of Jean Genet Disinformation / Regne Unit, 2014, 3’, V.O.
Solstice Samuel Levack i Jennifer Lewandowski / Regne Unit, 2013, 3’, S.D.

Programme 2:

The Man With Wheels Poeta: Billy Childish; director: Eugene Doyen / Regne Unit, 1990, 7’, V.O.
Proem Poeta: Hart Crane; directora: Suzie Hanna / Regne Unit, 2013, 4’, V.O.
You Be Mother Sarah Pucill / Regne Unit, 1990, 7’, S.D.
About Owls Poeta: Geoffrey Grigson / Regne Unit, 1968-2014, 1’, V.O.
Cut-Up Experiment VIII: Timers Run On Poeta i directora: Zata Kitowski / Regne Unit, 2007, 7’, V.O.
The Analysis of Beauty Produït per Disinformation / Regne Unit, 2000, 4’, S.D.
Just Midnight Poeta: Robert Lax; animadora: Susanne Wiegner / Alemanya, 2013, 4’, V.O.

The latest Analysis of Beauty video documentation, as opposed to what’s being included in PoetryFilm’s programme 2 in Barcelona, is from 2014.  I mentioned the 2014 installation of the Analysis of Beauty at the festival of sonic art being held in Edinburgh at some length in my Nov. 13, 2014 posting. Accordingly, this excerpt from the event page on the rorsharchaudio.com website includes only information about the latest documentation,

Art in Scotland and Summerhall TV made this video about the “The Analysis of Beauty” sound and video installation (see earlier post) which ran for 2 weeks, up to 29 Nov 2014, in the Georgian Gallery at Talbot Rice in Edinburgh. The actual sound featured in “The Analysis of Beauty” exhibit focussed on sine-waves with a core frequency of 40Hz, with the effect that (inevitably) the in-situ audio proved almost impossible to record for this video. For the most accurate representation of the gallery sound, please play the MP3 file below, listening through good quality external hi-fi loudspeakers or headphones (not laptop speakers).

As for the influence of William Hogarth’s ideas about “The Analysis of Beauty” and “Serpentine Line” etc, the evolution of this exhibit, which premiered at Kettle’s Yard gallery in 2000, is described in the Summerhall TV video. …

Enjoy!

*’Zlata’ corrected to ‘Zata’ and ‘Kitowski’ changed to ‘Banks’ so that I now have the correct first name and updated last name on Oct. 27, 2015.

Disrupting the arts scene around the world and in Vancouver (Canada)

I have two news bits of news for this post. First, the theme for the 2015 International Symposium on Electronic Arts (ISEA) to be held in Vancouver, Canada from Aug. 14 – 18, 2015 is Disruption and the deadline for submitting proposals for research papers and art installations is Dec. 20, 2014 (ETA Dec. 22, 2014: The deadline for long art or research papers, short art or research papers, art or research extended abstracts with demonstration or poster presentation, panels, workshops, tutorials and institutional presentations has been extended to Jan. 12, 2014; the deadline for artwork submissions remains Dec. 20, 2014). Here’s more about the symposium from the About page,

ISEA is one of the world’s most prominent international arts and technology events, bringing  together scholarly, artistic, and scientific domains in an interdisciplinary discussion and showcase of creative productions applying new technologies in art, interactivity, and electronic and digital media. The event annually brings together artists, designers, academics, technologists, scientists, and general audience in the thousands. The symposium consists of a peer reviewed conference, a series of exhibitions, and various partner events—from large scale interactive artwork in public space to cutting edge electronic music performance.

In the last four years ISEA has been hosted in Istanbul (2011), Albuquerque, New Mexico (2012), and Sydney, Australia (2013), and Dubai (2014). ISEA2015 in Vancouver marks its return to Canada, 20 years since the groundbreaking first Canadian ISEA1995 in Montréal. The Symposium will be held at the Woodward’s campus of Simon Fraser University in downtown Vancouver with exhibitions and events taking place at Emily Carr University of Art + Design and many other sites and venues throughout the city.

The series of ISEA symposia is coordinated by ISEA International. Founded in the Netherlands in 1990, ISEA International (formerly Inter-Society for the Electronic Arts) is an international non-profit organization fostering interdisciplinary academic discourse and exchange among culturally diverse organizations and individuals working with art, science and technology. ISEA International Headquarters is supported by the University of Brighton (UK).

Here’s more from the Theme page,

ISEA2015’s theme of DISRUPTION invites a conversation about the aesthetics of change, renewal, and game-changing paradigms. We look to raw bursts of energy, reconciliation, error, and the destructive and creative forces of the new. Disruption contains both blue sky and black smoke. When we speak of radical emergence we must also address things left behind. Disruption is both incremental and monumental.

In practices ranging from hacking and detournement to inversions of place, time, and intention, creative work across disciplines constantly finds ways to rethink or reconsider form, function, context, body, network, and culture. Artists push, shape, break; designers reinvent and overturn; scientists challenge, disprove and re-state; technologists hack and subvert to rebuild.

Disruption and rupture are fundamental to digital aesthetics. Instantiations of the digital realm continue to proliferate in contemporary culture, allowing us to observe ever-broader consequences of these effects and the aesthetic, functional, social and political possibilities that arise from them.

Within this theme, we want to investigate trends in digital and internet aesthetics and revive exchange across disciplines. We hope to broaden the spheres in which disruptive aesthetics can be explored, crossing into the worlds of science, technology, design, visual art, contemporary and media art, innovation, performance, and sound.

I encourage you to read the whole Theme page if you’re interested in making a proposal as the organizers have outlined many approaches to the main theme. Good luck to everyone making a submission (and that includes me). I will be submitting a proposal  with my co-author, Raewyn Turner, an artist from New Zealand, for Steep (I): a digital poetry of gold nanoparticles. (I’ll be writing more about our Steep project soon (hopefully next week Dec. 22 – 25, 2014.)

For the second bit of news, Emily Carr University of Art + Design received grants for two Canada Research Chairs in Oct. 2014. Here’s more from the Recipients List (Note: I have made some changes to the formatting),

Frid-Jimenez, Amber     Emily Carr University of Art + Design     Canada Research Chair in Art and Design Technology     SSHRC [funding agency: Social Sciences and Humanities Research Council]     [Tier] 2     New [position]
Hertz, Garnet     Emily Carr University of Art + Design     Canada Research Chair in Design and Media Arts     SSHRC     2     New

A Nov. 22, 2014 blog post on Emily Carr University’s The Big Idea blog provides more detail about the appointments,

Emily Carr University of Art + Design is honoured to announce the appointment of Associate Professors Amber Frid-Jimenez and Dr. Garnet Hertz to Canada Research Chairs recently published by the Government of Canada. This historic milestone marks the first Canada Research Chair appointments for Emily Carr University of Art + Design recognizing the institution’s capacity, faculty and contributions-to-date in the fields of art, media and design research. …

… “We are honoured that our University and the work of Dr. Garnet Hertz and Amber Frid-Jimenez are being recognized by the Government of Canada,” said David Bogen, Vice President Academic + Provost, Emily Carr University of Art + Design. “The appointment of our first Canada Research Chairs is significant at every level – for our institution’s culture of research, for our academic programs, and for our students who will work directly with some of today’s greatest artists, designers, and scholars in their prospective fields.” … Associate Professor Amber Frid-Jimenez is an awarding-winning interaction and print designer who has taught design studios and seminars at the Rhode Island School of Design, the Massachusetts Institute of Technology Visual Arts Program, the National Arts Academy (KHiB) in Bergen, Norway, and most recently at Emily Carr University of Art + Design. She holds a Masters in Media Arts and Sciences from the MIT Media Lab where she studied with John Maeda. Associate Professor Dr. Garnet Hertz’s work explores themes of DIY culture and interdisciplinary art/design practices. His work has been shown at several notable international venues including SIGGRAPH, Arts Electronica, and DEAF, and he was awarded the 2008 Oscar Signorini Award in robotic art. He is the founder and director of Dorkbot SoCal, a monthly Los Angeles-based lecture series, has taught at the Art Center College of Design, the University of California, Irvine, and is now Associate Professor at Emily Carr University of Art + Design.

You can find out more about Amber Frid-Jiminez here and about Garnet Hertz here .