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1. LYMS

   In the video lyms (which is a non-semantic word), I have solved the question of translation in a special way: words in different languages like spanish, french, german, english and scandinavian are put together.  None of them have the same meaning, the viewer may just taste on the words.  In the first part of the video all the words are starting with f.  In the beginning the f's are exposed in a way they constitute different pictures. The system of the expositions are based on how I made concrete poetry in the sixties. Instead of repeating them differently line by line, the new technology allows me to expose them differently through time.  Then more and more letters are shown, until all the words are exposed.

   Each viewer will have a different experience dependent upon their language background, and the ability to enjoy the poetic combination of the words and the visuality together with the music.  

   Patricia Tomaszek - 12.01.2011 - 18:22

2. Gentleman Fight Night

   Een blik in het brein van de dichter. Abjecte insecten en andere onderkruipers betreden de ruwe, duistere bolster van de blanke pit. Daar staat de ring klaar voor de 'Gentleman Fight Night'. Laat het gevecht beginnen! Compleet met gruwelijke, in bloed gedrenkte finale.

   David Prater - 10.11.2011 - 14:23

3. NONCE.EXECUTOR (disposable language)

   Nonce.Executor is a video poem.

   Talan Memmott - 22.10.2012 - 00:37

4. Calaboca

   Videoperformance, 52”

   Luciana Gattass - 23.11.2012 - 15:12

5. Lombrices (Minhocas)

   Author statement: "Estuve haciendo un video con Ricardo Pons. Compré frente al Club de los pescadores en la Costanera Norte un paquete de lombrices grandes, gordas. Las lavé en un balde para sacarles la tierra y las puse en el medio de una tabla blanca de 100 x 70 centímetros. Ricardo las filmaba mientras las lombrices se corrían hacia los costados cubriendo todo el rectángulo. Resultó un cuadro movedizo. Pensé terminar el video con una gallina hambrienta comiendo vorazmente el dibujo. No sé si lo voy a hacer. Pero me gusta la idea del arte que dibujan las lombrices, que luego es comido por la gallina y que después, se puede terminar, es defecado sobre un infierno de Boticelli. Es decir cubrir todo el ciclo: arte animal, arte comido y arte defecado sobre la idea principal de nuestro patrimonio cultural: arte suplicio, arte infernal, arte castigo. No se cómo llamar a esos cuadros horribles tan bien pintados." (Ferrari, Official Site)

   Luciana Gattass - 23.11.2012 - 15:22

6. Machine Libertine

   Machine Libertine is media poetry group. The method of our work is the exploration of the role of media in the development of literary art practices including video poetry, text generators and performance art. The main principles of the group are formulated in our Machine Poetry Manifesto pointing out the idea of liberation of the machines from the routine tasks and increasing the intensity of their use for creative and educational practices. Machine Libertine had been founded in December 2010 starting with a video poetry called Snow Queen, a piece for British Council and presented recently at Purple Blurb series at MIT and Harvard. It is a combination of masculine poetry «Poison Tree» by William Blake contrasted to mechanic female MacOS voice and cubistic video imagery of Souzfilm animation «Snow Queen» (1957). We are exploring how the text can be transformed by mechanized reading and visualizing it and what are the possible limits of this transmedia play of interpretation.

   Natalia Fedorova - 18.01.2013 - 11:47

7. Snow Queen

   Snow Queen, a debut videopoem by Machine Libertine, is a combination of masculine poetry «Poison Tree» by William Blake contrasted to mechanic female MacOS voice and Sever group remix of Souzfilm animation «Snow Queen» (1957). The cubist imagery of the Snow Queen's realm evokes parallels with the realm of the digital that is as unstable as the icicles that Key composes the word "eternity" from.

   Natalia Fedorova - 26.01.2013 - 15:08

8. Roda Lume

   When I began using video technology to produce my first videopoem, Roda Lume (Wheel of Fire), in 1968, I did not know where the limits were and where my experiments would take me. I was really experimenting on the most elementary meaning of the word experience. A sense of fascination and adventure told me that the letters and the signs standing still on the page could gain actual movement of their own. The words and the letters could at last be free, creating their own space.

   [Source: E. M. de Melo e Castro, "Videopoetry" in Kac, Eduardo (ed.) Media Poetry: An International Anthology (2007: 176)]

   Alvaro Seica - 14.11.2013 - 15:57

9. Signagens

   Signagens (Signings) is a series of videopoems (1985-89) developed by E.M. de Melo e Castro with the support of the Portuguese Institute for Distance Learning (IPED) and later by the Open University of Lisbon, in its electronic and digital TV studios. According to Melo e Castro, "this project intended first of all to investigate video possibilities as a new medium for reading poetry. It was meant to be used in classes of literature and of Portuguese language. Very soon I realized that intersemiotic translation of print-based visual and experimental poems was obvious, as video seemed to me a perfect medium for animation of letters and words." (Media Poetry: An International Anthology, 2007: 180-181) For the full series, including all the videos:

   Alvaro Seica - 11.12.2013 - 15:32

10. OTTARAS: 3 CONCRETE - LONG RONG SONG, NAVN NOME NAME, kakaoase

    Projected on a grid of particles that at times seem ordered, while sometimes chaotic and always in flux, Ormstad's constructed language poetry is exposed and read by the author while performing to Mashtalir's pulsating music and Vojjov's atmospheric scapes in the first two works LONG RONG SONG and NAVN NOME NAME. The first is based on Ormstad's language research project from his second book of concrete poetry from 2004. Here he creates words that may exist or not in any language, and this is related to Vojjov's creation of numbers, geometric forms and abstract shapes. The second work is made from Ormstad's collection of poetic family names used in Oslo, Norway, also here accompanied by Vojjov's world of cosmic shapes. The last track, kakaoase, is based on a printed picture by Ormstad, made of sound poetry where he's playing with the Norwegian language. Most of the words have no – or almost no – meaning, and here Mashtalir's music makes this an exceptional possibility for participating and dancing to concrete poetry!

    Hannah Ackermans - 30.11.2015 - 10:21

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