Category Archives: poetry

Dancing quantum entanglement (Ap. 20 – 22, 2017) and performing mathematics (Ap. 26 – 30, 2017) in Vancouver, Canada

I have listings for two art/science events in Vancouver (Canada).

Dance, poetry and quantum entanglement

From April 20, 2017 (tonight) – April 22, 2017, there will be 8 p.m. performances of Lesley Telford’s ‘Three Sets/Relating At A Distance; My tongue, your ear / If / Spooky Action at a Distance (phase 1)’ at the Scotiabank Dance Centre, 677 Davie St, Yes, that third title is a reference to Einstein’s famous phrase describing his response of the concept of quantum entanglement.

An April 19, 2017 article by Janet Smith for the Georgia Straight features the dancer’s description of the upcoming performances,

One of the clearest definitions of quantum entanglement—a phenomenon Albert Einstein dubbed “spooky action at a distance”—can be found in a vampire movie.

In Jim Jarmusch’s Only Lovers Left Alive Tom Hiddleston’s depressed rock-star bloodsucker explains it this way to Tilda Swinton’s Eve, his centuries-long partner: “When you separate an entwined particle and you move both parts away from the other, even at opposite ends of the universe, if you alter or affect one, the other will be identically altered or affected.”

In fact, it was by watching the dark love story that Vancouver dance artist Lesley Telford learned about quantum entanglement—in which particles are so closely connected that they cannot act independently of one another, no matter how much space lies between them. She became fascinated not just with the scientific possibilities of the concept but with the romantic ones. …

 “I thought, ‘What a great metaphor,’ ” the choreographer tells the Straight over sushi before heading into a Dance Centre studio. “It’s the idea of quantum entanglement and how that could relate to human entanglement.…It’s really a metaphor for human interactions.”

First, though, as is so often the case with Telford, she needed to form those ideas into words. So she approached poet Barbara Adler to talk about the phenomenon, and then to have her build poetry around it—text that the writer will perform live in Telford’s first full evening of work here.

“Barbara talked a lot about how you feel this resonance with people that have been in your life, and how it’s tied into romantic connections and love stories,” Telford explains. “As we dig into it, it’s become less about that and more of an underlying vibration in the work; it feels like we’ve gone beyond that starting point.…I feel like she has a way of making it so down-to-earth and it’s given us so much food to work with. Are we in control of the universe or is it in control of us?”

Spooky Action at a Distance, a work for seven dancers, ends up being a string of duets that weave—entangle—into other duets. …

There’s more information about the performance, which concerns itself with more than quantum entanglement in the Scotiabank Dance Centre’s event webpage,

Lesley Telford’s choreography brings together a technically rigorous vocabulary and a thought-provoking approach, refined by her years dancing with Nederlands Dans Theater and creating for companies at home and abroad, most recently Ballet BC. This triple bill features an excerpt of a new creation inspired by Einstein’s famous phrase “spooky action at a distance”, referring to particles that are so closely linked, they share the same existence: a collaboration with poet Barbara Adler, the piece seeks to extend the theory to human connections in our phenomenally interconnected world. The program also includes a new extended version of If, a trio based on Anne Carson’s poem, and the duet My tongue, your ear, with text by Wislawa Szymborska.

Here’s what appears to be an excerpt from a rehearsal for ‘Spooky Action …’,

I’m not super fond of the atonal music/sound they’re using. The voice you hear is Adler’s and here’s more about Barbara Adler from her Wikipedia entry (Note: Links have been removed),

Barbara Adler is a musician, poet, and storyteller based in Vancouver, British Columbia. She is a past Canadian Team Slam Champion, was a founding member of the Vancouver Youth Slam, and a past CBC Poetry Face Off winner.[1]

She was a founding member of the folk band The Fugitives with Brendan McLeod, C.R. Avery and Mark Berube[2][3] until she left the band in 2011 to pursue other artistic ventures. She was a member of the accordion shout-rock band Fang, later Proud Animal, and works under the pseudonym Ten Thousand Wolves.[4][5][6][7][8]

In 2004 she participated in the inaugural Canadian Festival of Spoken Word, winning the Spoken Wordlympics with her fellow team members Shane Koyczan, C.R. Avery, and Brendan McLeod.[9][10] In 2010 she started on The BC Memory Game, a traveling storytelling project based on the game of memory[11] and has also been involved with the B.C. Schizophrenia Society Reach Out Tour for several years.[12][13][14] She is of Czech-Jewish descent.[15][16]

Barbara Adler has her bachelor’s degree and MFA from Simon Fraser University, with a focus on songwriting, storytelling, and community engagement.[17][18] In 2015 she was a co-star in the film Amerika, directed by Jan Foukal,[19][20] which premiered at the Karlovy Vary International Film Festival.[21]

Finally, Telford is Artist in Residence at the Dance Centre and TRIUMF, Canada’s national laboratory for particle and nuclear physics and accelerator-based science.

To buy tickets ($32 or less with a discount), go here. Telford will be present on April 21, 2017 for a post-show talk.

Pi Theatre’s ‘Long Division’

This theatrical performance of concepts in mathematics runs from April 26 – 30, 2017 (check here for the times as they vary) at the Annex at 823 Seymour St.  From the Georgia Straight’s April 12, 2017 Arts notice,

Mathematics is an art form in itself, as proven by Pi Theatre’s number-charged Long Division. This is a “refreshed remount” of Peter Dickinson’s ambitious work, one that circles around seven seemingly unrelated characters (including a high-school math teacher, a soccer-loving imam, and a lesbian bar owner) bound together by a single traumatic incident. Directed by Richard Wolfe, with choreography by Lesley Telford and musical score by Owen Belton, it’s a multimedia, movement-driven piece that has a strong cast. …

Here’s more about the play from Pi Theatre’s Long Division page,

Long Division uses text, multimedia, and physical theatre to create a play about the mathematics of human connection.

Long Division focuses on seven characters linked – sometimes directly, sometimes more obliquely – by a sequence of tragic events. These characters offer lessons on number theory, geometry and logic, while revealing aspects of their inner lives, and collectively the nature of their relationships to one another.

Playwright: Peter Dickinson
Director: Richard Wolfe
Choreographer: Lesley Telford, Inverso Productions
Composer: Owen Belton
Assistant Director: Keltie Forsyth

Cast:  Anousha Alamian, Jay Clift, Nicco Lorenzo Garcia, Jennifer Lines, Melissa Oei, LInda Quibell & Kerry Sandomirsky

Costume Designer: Connie Hosie
Lighting Designer: Jergus Oprsal
Set Designer: Lauchlin Johnston
Projection Designer: Jamie Nesbitt
Production Manager: Jayson Mclean
Stage Manager: Jethelo E. Cabilete
Assistant Projection Designer: Cameron Fraser
Lighting Design Associate: Jeff Harrison

Dates/Times: April 26 – 29 at 8pm, April 29 and 30 at 2pm
Student performance on April 27 at 1pm

A Talk-Back will take place after the 2pm show on April 29th.

Shawn Conner engaged the playwright, Peter Dickinson in an April 20, 2017 Q&A (question and answer) for the Vancouver Sun,

Q: Had you been working on Long Division for a long time?

A: I’d been working on it for about five years. I wrote a previous play called The Objecthood of Chairs, which has a similar style in that I combine lecture performance with physical and dance theatre. There are movement scores in both pieces.

In that first play, I told the story of two men and their relationship through the history of chair design. It was a combination of mining my research about that and trying to craft a story that was human and where the audience could find a way in. When I was thinking about a subject for a new play, I took the profession of one of the characters in that first play, who was a math teacher, and said, “Let’s see what happens to his character, let’s see where he goes after the breakup of his relationship.”

At first, I wrote it (Long Division) in an attempt at completely real, kitchen-sink naturalism, and it was a complete disaster. So I went back into this lecture-style performance.

Q: Long Division is set in a bar. Is the setting left over from that attempt at realism?

A: I guess so. It’s kind of a meta-theatrical play in the sense that the characters address the audience, and they’re aware they’re in a theatrical setting. One of the characters is an actress, and she comments on the connection between mathematics and theatre.

Q: This is being called a “refreshed” remount. What’s changed since its first run 

A: It’s mostly been cuts, and some massaging of certain sections. And I think it’s a play that actually needs a little distance.

Like mathematics, the patterns only reveal themselves at a remove. I think I needed that distance to see where things were working and where they could be better. So it’s a gift for me to be given this opportunity, to make things pop a little more and to make the math, which isn’t meant to be difficult, more understandable and relatable.

You may have noticed that Lesley Telford from Spooky Action is also choreographer for this production. I gather she’s making a career of art/science pieces, at least for now.

In the category of ‘Vancouver being a small town’, Telford lists a review of one of her pieces,  ‘AUDC’s Season Finale at The Playhouse’, on her website. Intriguingly, the reviewer is Peter Dickinson who in addition to being the playwright with whom she has collaborated for Pi Theatre’s ‘Long Division’ is also the Director of SFU’s (Simon Fraser University’s) Institute for Performance Studies. I wonder how many more ways these two crisscross professionally? Personally and for what it’s worth, it might be a good idea for Telford (and Dickinson, if he hasn’t already done so) to make readers aware of their professional connections when there’s a review at stake.

Final comment: I’m not sure how quantum entanglement or mathematics with the pieces attributed to concepts from those fields but I’m sure anyone attempting to make the links will find themselves stimulated.

ETA April 21, 2017: I’m adding this event even though the tickets are completely subscribed. There will be a standby line the night of the event (from the Peter Wall Institute for Advanced Studies The Hidden Beauty of Mathematics event page,

02 May 2017

7:00 pm (doors open at 6:00 pm)

The Vogue Theatre

918 Granville St.

Vancouver, BC

Register

Good luck!

Poetry and the brain

It seems poetry goes deep into the brain. A Feb. 17, 2017 news item on ScienceDaily describes some blended poetry/brain research,

In 1932 T.S. Eliot famously argued, “Genuine poetry can communicate before it is understood.”

In a recent article published in the journal Frontiers in Psychology, Professor Guillaume Thierry and colleagues at Bangor University [Maine, US] have demonstrated that we do indeed appear to have an unconscious appreciation of poetic construction.

A Feb. 20, 2017 Frontiers (publications) blog posting, which despite the publication date appears to have originated the news item, provides more detail,

“Poetry,” explains Professor Thierry “is a particular type of literary expression that conveys feelings, thoughts and ideas by accentuating metric constraints, rhyme and alliteration.”

However, can we appreciate the musical sound of poetry independent of its literary meaning?

To address this question the authors created sentence sample sets that either conformed or violated poetic construction rules of Cynghanedd — a traditional form of Welsh poetry. These sentences were randomly presented to study participants; all of whom were native welsh speakers but had no prior knowledge of Cynghanedd poetic form.

Initially participants were asked to rate sentences as either “good” or “not good” depending on whether or not they found them aesthetically pleasing to the ear. The study revealed that the participants’ brains implicitly categorized Cyngahanedd-orthodox sentences as sounding “good” compared to sentences violating its construction rules.

The authors also mapped Event-Related Brain Potential (ERP) in participants a fraction of a second after they heard the final word in a poetic construction. These elegant results reveal an electrophysiological response in the brain when participants were exposed to consonantal repetition and stress patterns that are characteristic of Cynghanedd, but not when such patterns were violated.

Interestingly the positive responses from the brain to Cynghanedd were present even though participants could not explicitly tell which of the sentences were correct and which featured errors of rhythm or sound repetitions.

Professor Thierry concludes, “It is the first time that we show unconscious processing of poetic constructs by the brain, and of course, it is extremely exciting to think that one can inspire the human mind without being noticed!”

So when you read a poem, if you feel something special but you cannot really pinpoint what it is, make no mistake, your brain loves it even if you don’t really know why.

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

Implicit Detection of Poetic Harmony by the Naïve Brain by Awel Vaughan-Evans, Robat Trefor, Llion Jones, Peredur Lynch, Manon W. Jones, and Guillaume Thierry. Front. Psychol., 25 November 2016 | https://doi.org/10.3389/fpsyg.2016.01859

This paper has been published in an open access. journal.

While I appreciate the enthusiasm, I think it might be better to do more research before making grand statements about poetry and the brain. For example, are they positive these native Welsh speakers had never ever encountered the poetic form being studied? Would a French or Farsi or Mandarin or Russian or … speaker respond the same way to a poem from their own poetic traditions? Is the effect cross cultural? Does a translation make a difference? Are there only certain poetic forms that create the effect?  I look forward to hearing more about this research in the years to come.

Live. Curiously. A Feb. 22, 2017 Curiosity Collider Café event in Vancouver, Canada

There’s news about the next Curiosity Collider Café event in a Feb. 14, 2017 announcement (received via email),

Collider Cafe: Live. Curiously.

When
8:00pm on Wednesday, February 22nd, 2017. Door opens at 7:30pm.

Where
Café Deux Soleils. 2096 Commercial Drive, Vancouver, BC (Google Map).

Cost
$5.00-10.00 cover at the door (sliding scale). Proceeds will be used to cover the cost of running this event, and to fund future Curiosity Collider events. Curiosity Collider is a registered BC non-profit organization.

***

#ColliderCafe is a space for artists, scientists, makers, and anyone interested in art+science. Meet, discover, connect, create. How do you explore curiosity in your life? Join us and discover how our speakers explore their own curiosity at the intersection of art & science.

The event will start promptly at 8pm (doors open at 7:30pm). $5.00-10.00 (sliding scale) cover at the door. Proceeds will be used to cover the cost of running this event, and to fund future Curiosity Collider events. Curiosity Collider is a registered BC non-profit organization.

Let us know you are coming on our Facebook page!

You can find out more about Curiousity Collider and its events here. Also, they have produced a very pretty poster,

FrogHeart presents: Steep (1) A digital poetry of gold nanoparticles on Nov. 17, 2016 in Vancouver (Canada)

For anyone who has wanted to hear about the videopoem or poetryfilm, Steep (1): A digital poetry of gold nanoparticles, that I presented at the 2015 International Symposium on Electronic Arts (ISEA) in Vancouver, your wait is over. From the Canadian Academy of Independent Scholars Nov. 7, 2016 announcement (received via email),

Date:  Thursday, November 17th, 2016
Time:  7:30 pm
Place:  Simon Fraser University, Vancouver, BC Campus, 515 West Hastings Street (between Seymour and Richards Streets) in the Diamond Lounge
Speaker:  Maryse de la Giroday
Topic:  A digital poetry of gold nanoparticles: a Steep art/science project

Outline:

An object of desire, the stuff of myth and legend, and a cross-cultural icon, gold is now being perceived in a whole new way at the nanoscale where its properties and colour undergo a change. Increasingly used as a component in biomedical applications, gold nanoparticles are entering the environment (air, soil, and water).  ‘Steep (1): A digital poetry of gold nanoparticles’ is a short videopoem exploring the good and the bad about gold at the macroscale and at the nanoscale.

Presented at the 2015 International Symposium on Electronic Arts, the Steep (1) videopoem is an art/sci collaboration between Maryse de la Giroday (science writer and poet) from Canada and Raewyn Turner (video artist) from New Zealand. In addition to a look at the video, the presentation offers an inside perspective on incorporating science, poetry, and video in an art/sci piece. As well, there’ll be some discussion regarding one or more of Maryse’s and Raewyn’s current art/sci projects.

Brief Biography:
Maryse de la Giroday writes and publishes the largest, independent, science blog in Canada. Her main focus is nanotechnology (the Canadian kind when she can find it). She has also written several pieces for local visual arts magazine, Preview. Maryse holds an undergraduate Communications (honours) degree from Simon Fraser University and a Master’s degree (Creative Writing and New Media) from De Montfort University (UK). (Unfortunately, Raewyn will either be in New Zealand or on the US East Coast and unable to attend.)

You can preview the video here at steep.nz or here on Vimeo.

The Cabinet Project: a call for proposals from Canada’s ArtSci Salon

Thanks to my colleague, Raewyn Turner (artist, New Zealand) for information about this call for proposals. BTW, she and I are talking about putting our own proposal forward but the deadline is Sept. 30, 2016, which isn’t all that far away.

The ArtSci Salon; A Hub for the Arts & Science communities in Toronto and Beyond is soliciting proposals for ‘The Cabinet Project; An artsci exhibition about cabinets‘ to be held *March 30 – May 1* 2017 at the University of Toronto in a series of ‘science cabinets’ found around campus,

Despite being in full sight, many cabinets and showcases at universities and scientific institutions lie empty or underutilized. Located at the entrance of science departments, in proximity of laboratories, or in busy areas of transition, some contain outdated posters, or dusty scientific objects that have been forgotten there for years. Others lie empty, like old furniture on the curb after a move, waiting for a lucky passer-by in need. The ceaseless flow of bodies walking past these cabinets – some running to meetings, some checking their schedule, some immersed in their thoughts – rarely pay attention to them.

The neglect of these cabinets seems to confirm well-established ideas about science institutions as recluse spaces where secrecy reigns, and communication with the outside world is either underappreciated or prohibited. But at a closer look, this is not the case: those seemingly ignored and neglected cabinets have fascinating and compelling stories that speak to their mobility, their past uses and their owners; laboratories in their proximity burst of excitement and boredom, frustration and euphoria, their machineries being constantly fabricated, rethought, dismantled or replaced; in these laboratories, individuals, objects and instruments come to life in complicated ways. These objects, human relations and stories are forming complex ecologies that are very much alive.

Here are the objectives (from the Project page),

The Cabinet project seeks to explore and to bring to life historical, anecdotal and imagined stories evoked by scientific objects, their surrounding space and the individuals that inhabit them. The goal is to reflect on, and reverse the stereotypical assumptions about science as inaccessible and secretive, to make the intense creativity existing inside science laboratories visible, and to suggest potential interactions between the sciences and the arts.

We invite artists, scientists and other creative individuals to turn a select number of cabinets across the University of Toronto into small-scale installations. Interventions can use a variety of media and material and engage with a number of disciplines.

The resulting distributed exhibition ( March 2017) will feature dialogues between art and science that engage with objects and instruments created in nearby science labs.

Before you send your proposal, make sure to check the location/size of the cabinets, as well as the UTSIC collection.
Please come back often as more cabinets are added

There’s also the Call for Proposals (from the Project page),

Artists are invited to populate a variety of cabinets around the St. George Campus at the University of Toronto with artworks that

  • interact with objects and instruments that have been fabricated or used in the labs nearby;
  • engage with the history of the cabinets (how they got there, who donated them, what was their initial purpose etc..);
  • narrate imaginary or science fictional stories about the cabinets, the labs in their proximity and the mysterious objects they have produced in the past or are currently producing.

Of course, these are only suggested scenarios. Please, contact us if you have a particular request or idea.

We request that you fill in the online proposal below with a 250 words MAX description, accompanied by 3-4 images that meaningfully describe your work. Please, specify your goals, how you plan to interact with certain objects or a particular environment, and how you plan to install your work, using which media etc..  This project assumes that a meaningful interaction with the surrounding context is established.

The application form is here. Don’t forget to go to the Project page for a list of cabinets and the deadline is Sept. 30, 2016. Good luck to us all!

*’March’ replaced by ‘March 30 – May 1’ on S.1.16 at 1420 PDT.

PoetryFilm Paradox + Disinformation Listening Party in Iceland on March 10, 2016

Should you be so lucky as to be in Reykjavik, Iceland on March 10, 2016, there’s an opportunity to attend a special poetry event at Mengi. Here’s more from a Feb. 25, 2016 announcement (received via email),

Kvikmyndaljóð Þverstæða + Upplýsingafölsun Hlustunarpartý
[PoetryFilm Paradox + Disinformation Listening Party] [emphasis mine]

Mengi, Reykjavik, 10 March 2016
2,000 ISK, 9pm sharp
Mengi, Óðinsgata 2
Reykjavik 101
Iceland

The Disinformation Listening Party features an extremely rare presentation of electromagnetic sound works by the pioneering sonic arts project Disinformation. Disinformation was founded in London, England, in 1995, and produced a series of highly-influential LPs and CDs, before crossing-over into the fields of sound installation, kinetic and video art, and pure research (early Disinformation works were published by the record company Ash International, aka Touch Records, later works were published by Iris Light and Adaadat Records). Disinformation installations have been described as “actively thrilling” by The Financial Times, The Sound Projector (music magazine) spoke of Disinformation producing “potent drug-like trances of utter black mysteriousness”, The Metro newspaper described Disinformation as “the black-ops unit of the avant-garde”, and The Guardian stated that “Disinformation combine scientific nous with poetic lyricism to create some of the most beautiful installations around”.

The Disinformation Listening Party focusses on shortwave radio recordings of so-called “Type II” (slow-drift) noise storms produced by coronal mass ejections on the surface of the sun.

Disinformation producer Joe Banks is a former UK government funded Research Fellow at City University (London), at Goldsmiths College and The University of Westminster, and is the author of a monograph on psychoacoustics published as “Rorschach Audio – Art & Illusion for Sound”.

PoetryFilm is an iconic and highly influential research art project and screening series, founded by curator and artist Zata Banks [now Zitowski] in 2002. PoetryFilm Paradox is an hour-long presentation, featuring 13 short film artworks exploring the complexities of erotic, romantic and familial love, including animator Kate Jessop’s moving screen adaptation of a letter from Dolce & Gabbana designer Stefano Gabbana to his partner Domenico Dolce; Bruno Teixidor’s powerful film fantasia based on a poem by the Mexican author and translator Tomas Segovia; Brooke Griffin’s sign language film, based on poetry by Raymond Luczak; Stuart Pound’s hypnotic computer visualisation of “Die Nebensonnen” by Franz Schubert; Martin Pickles and Mikey Georgeson’s contemporary rendition of the classic “Love Song of J. Alfred Prufrock” by T.S. Eliot; “Fucking Him” by artists C.O. Moed & Adrian Garcia Gomez; and “447: Intellect – N” – an extraordinary montage of Scrabble letters and electronic noise, by artist Jane Glennie. PoetryFilm Paradox was part of the British Film Institute’s 2015 “LOVE” season (supported by Film Hub London, and managed by Film London, in partnership with the BFI Audience Network), and all 3 London screenings sold out.

There is a Facebook posting for this event which also features other events at Mengi.

You can find more about Disinformation at rorschachaudio.com and about PoetryFilm at poetryfilm.org.

NASA calling for submissions (poetry, video, art, music, etc.) for space travel

The US National Aeronautics and Space Administration (NASA) has made an open call for art works that could be part of the the Origins, Spectral Interpretation, Resource Identification, Security-Regolith Explorer (OSIRIS-REx) spacecraft mission bound for Bennu (an asteroid). From a Feb. 23, 2016 NASA news release on EurekAlert,

OSIRIS-REx is scheduled to launch in September and travel to the asteroid Bennu. The #WeTheExplorers campaign invites the public to take part in this mission by expressing, through art, how the mission’s spirit of exploration is reflected in their own lives. Submitted works of art will be saved on a chip on the spacecraft. The spacecraft already carries a chip with more than 442,000 names submitted through the 2014 “Messages to Bennu” campaign.

“The development of the spacecraft and instruments has been a hugely creative process, where ultimately the canvas is the machined metal and composites preparing for launch in September,” said Jason Dworkin, OSIRIS-REx project scientist at NASA’s Goddard Space Flight Center in Greenbelt, Maryland. “It is fitting that this endeavor can inspire the public to express their creativity to be carried by OSIRIS-REx into space.”

A submission may take the form of a sketch, photograph, graphic, poem, song, short video or other creative or artistic expression that reflects what it means to be an explorer. Submissions will be accepted via Twitter and Instagram until March 20, 2016. For details on how to include your submission on the mission to Bennu, go to:

http://www.asteroidmission.org/WeTheExplorers

“Space exploration is an inherently creative activity,” said Dante Lauretta, principal investigator for OSIRIS-REx at the University of Arizona, Tucson. “We are inviting the world to join us on this great adventure by placing their art work on the OSIRIS-REx spacecraft, where it will stay in space for millennia.”

The spacecraft will voyage to the near-Earth asteroid Bennu to collect a sample of at least 60 grams (2.1 ounces) and return it to Earth for study. Scientists expect Bennu may hold clues to the origin of the solar system and the source of the water and organic molecules that may have made their way to Earth.

Goddard provides overall mission management, systems engineering and safety and mission assurance for OSIRIS-REx. The University of Arizona, Tucson leads the science team and observation planning and processing. Lockheed Martin Space Systems in Denver is building the spacecraft. OSIRIS-REx is the third mission in NASA’s New Frontiers Program. NASA’s Marshall Space Flight Center in Huntsville, Alabama, manages New Frontiers for the agency’s Science Mission Directorate in Washington.

I wonder why the Egyptian mythology as in Osiris and Bennu. For those who need a refresher on the topic, here’s more from the Osiris entry on Wikipedia (Note: Links have been removed),

Osiris (/oʊˈsaɪərᵻs/, alternatively Ausir, Asiri or Ausar, among other spellings), was an Egyptian god, usually identified as the god of the afterlife, the underworld, and the dead, but more appropriately as the god of transition, resurrection, and regeneration.

Then there’s this from the Bennu entry on Wikipedia (Note: Links have been removed),

The Bennu is an ancient Egyptian deity linked with the sun, creation, and rebirth. It may have been the inspiration for the phoenix in Greek mythology.

You can find out more about Bennu, the asteriod, on its webpage, The long Strange Trip of Bennu on the NASA website (which also features a video animation), Note: A link has been removed,

… Born from the rubble of a violent collision, hurled through space for millions of years and dismembered by the gravity of planets, asteroid Bennu had a tough life in a rough neighborhood: the early solar system. …

“We are going to Bennu because we want to know what it has witnessed over the course of its evolution,” said Edward Beshore of the University of Arizona, Deputy Principal Investigator for NASA’s asteroid-sample-return mission OSIRIS-REx (Origins, Spectral Interpretation, Resource Identification, Security – Regolith Explorer). The mission will be launched toward Bennu in late 2016, arrive at the asteroid in 2018, and return a sample of Bennu’s surface to Earth in 2023.

“Bennu’s experiences will tell us more about where our solar system came from and how it evolved. Like the detectives in a crime show episode, we’ll examine bits of evidence from Bennu to understand more completely the story of the solar system, which is ultimately the story of our origin.”

As for the spacecraft, you can find out more about OSIRIS-REx here.

Getting back to the artwork, Sarah Cascone has written a Feb. 22, 2016 posting for artnet news, which features the call for submissions and some work which already been submitted (Note: Links have been removed),

The near-Earth asteroid Bennu will become the first extra-terrestrial art gallery, with the space agency inviting the public to contribute works of art that are inspired by the spirit of exploration.

The project will follow other important moments in space art history, which include work by Invader traveling aboard the International Space Station, conceptual artwork on the UKube-1 satellite, and even a bonsai tree launched into space.

Here’s a selection of the artworks being embedded in Cascone’s posting,

Daughter’s is spacebound! Fitting tribute to a pioneering, star-loving musician @OSIRISREx

For more inspiration, check out Cascone’s Feb. 22, 2016 posting.

Good luck!

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!