Aug 14, 2014

Standard de vérité (2014)

Standard de vérité / Standard of Truth has been included in this year’s Liberated Words Festival.
It will be screened on September 13th at the BRISTOL 2014 FESTIVAL.


Excerpt: Children do not have any archives, they are born free. They do not have to worry about all of those boxes of paper stating this or that truth, they do not have to pay storage fees, or check the levels of relative humidity in the vaults. The past has not yet arrived. They have nothing else than life ahead of them. The meaning that flows in their veins is not saturated with antibodies; they are made of oxygen. Maybe that is why they have big smiles.

Aug 3, 2014

Everglades reverberations (2014)


The following writeup was originally published on the Knight Arts website on July 25th 2014

By Daniel Dugas and Valerie LeBlanc, AIRIE

We came from the north. As we approached Miami, the pilot said something about the weather while swerving to miss storm cells. A few hours later, after we had landed, the downpour started in earnest. The rain was heavy, the sky black. It was a big storm; actually it was the first tropical storm of the 2014 Atlantic Hurricane season. It later strengthened to become Hurricane Arthur and it was tracking northward. Hurricanes often follow the Gulf Stream current and affect the Maritime region of Canada where we live. But this one was going for the jugular; our town was right in the middle of its path. There were a slew of warnings posted on the Environment Canada website, tropical storm, rainfall, wind, special weather statement, and a tropical cyclone information statement. We followed the evolution of Arthur and worried for our house. At the last moment the storm veered left and the town where we live got a good soaking but not the anticipated deluge. It was pretty amazing to arrive in Florida just in time to witness the birth of a storm that slowly moved northward to die almost outside of our doorstep. It was a reminder of the interconnectedness of all things.

1-HURRICANE-ARTHURHurricane Arthur, July 5, 2014, National Hurricane Center

We are here to do a soundwalk project; fictional stories, voices, swamp recordings. It is this concept of interconnectness that is calling for our attention. We are looking at the connections between: the Everglades National Park geography and its inhabitants; those living close to its borders; and those, like ourselves, who come here to commune with the environment. We recognize that ecologically speaking, our understanding and experience of the Everglades is a relatively short moment in time. As we research through the networks and components that is the Everglades, we try to understand something of where it all sits in the grand scheme of things.

Upon arriving, the first thing that we did was to try to visualize the park, to construct a mental chart of what exists where. In the first few days we covered as much ground as we could, recording ambient sound, the weather, and the insects. The mosquitos hit the shotgun mic with anger. We saw sunrises, sunsets, walked in the warm waters of the slough at Pa-Hay-Okee, attempted to hike among the mangroves at Christian Point Trail, immersed ourselves in the song of crickets, frogs, of rustling in the bush, of movement in the trees.

Daniel, ChokoloskeeDaniel, Chokoloskee

The type of collaboration that we do is diverse. We have been collaborating for over twenty years on many projects. Often we work within a framework that allows for individual sensitivities to bubble to the surface, this is the case with our Everglades project. As we go out on hikes and explorations we experience the same location but from two different perspectives. Our individual takes are like stones thrown into a lake; the ripples of both, the points on intersections lie where the waves combine. That is often the place of creation.

Soon after arriving, we realized that we were in a world of layers. That we would have to see through the mosquito layer, the mosquito net layer, the humidity layer, the heat stress layer and the DEET layer. Every task becomes monumental, every clap of thunder, every raindrop intensifies, maximizes the experience.

We quickly learned to operate in the environment, to be there. Because audio recording demands silence and stillness, it is an obvious target for the hordes of skitters. In the spirit of adaptation, Valerie developed a Tai-Chi-like series of movements to repel them away from the microphone pickup area. This slow motioned waving of blue rubber gloved hands became the symbol of a certain level of peace.

Valerie’s Tai-Chi-like series of movements, Pa-Hay-OkeeValerie’s Tai-Chi-like series of movements, Pa-Hay-Okee

Of all the layers present within the Park, it is the human presence that has become the focus of our work. Whether it is the recently abandoned Chekika Day Use Area, the HM69 Nike Missile Base,

Valerie and Daniel, HM69 Nike Missile BaseValerie and Daniel, HM69 Nike Missile Base

the shell mounds of the Calusa Indians on Sandfly Island or the Deer Pen ruins near Paradise Key, all of these traces reveal something about human interventions in this place. Trace elements become covered, overgrown, eaten or corroded as plants, animals and climate reclaim. Sites can be seen as momento mori, reminders of mortality, but they are also reverberations of life.

Deer Pen, Paradise Key, NPS archives July, 1934Deer Pen, Paradise Key, NPS archives July, 1934
Deer Pen, July 2014, left to right: Daniel Dugas; Hillary Cooley Botanist, Everglades and Dry Tortugas National Parks and Valerie LeBlancDeer Pen, July 2014, left to right: Daniel Dugas; Hillary Cooley, Botanist, Everglades and Dry Tortugas National Parks and Valerie LeBlanc

Jun 10, 2014

MPB-X: launch (2014)



MPB-X launched June 9, 2014.

Critical Discourse Surrounding Ideas of Portability in Art and Art Dissemination

The publication features a foreword by editor Diana Sherlock and is followed by essays from Renato Vitic, Michael McCormack, Daniel H. Dugas and Valerie LeBlanc.

The eBook discussions draw from MediaPackBoard (MPB) programming carried out since 2005, in the context of contemporary portable art projects.

Valerie LeBlanc, MediaPackBoard creator, is formulating plans for a 10th year MPB outing. This year’s event, to be announced later this summer, will underline release of the publication.

MPB-X, is available for reading and free downloads:

version 2.0 / June 11 2014

PDF interactive: (6 mb)

ePub: (5.1 mb)

MOBI: (10.9 mb)

The book can also be read online at:

ISBN paper 978-0-9735206-6-8
ISBN PDF 978-0-9735206-7-5
ISBN ePub 978-0-9735206-2-0
ISBN MOBI 978-0-9735206-8-2

mpb-x website


This project is supported by the New Brunswick Arts Board
Ce projet est soutenu par le Conseil des arts du Nouveau-Brunswick

May 7, 2014

Mot Dit 7 (2014)


Le Mot Dit 7 est né ! Valerie LeBlanc et moi avons des textes et des images tirés de notre projet d’installation vidéo Ce qu’on emporte avec nous. Page couverture : Rouge (Daniel Dugas). Valerie LeBlanc and I have some texts and images included in the Mot Dit 7. The work has been extracted from our video installation What We Take With Us. Cover image: Red (Daniel Dugas).

May 5, 2014

Videopoetry (2014)

For me, the poetic experience has always been a visual experience. Although videopoetry is often a collaborative process between a poet and a filmmaker, it is for me, most of the time, one continuous action. When I started to write poetry I also started to experiment with super 8 and creating live soundtracks for the reels. The blend of text, image and music seemed a natural transaction between mediums. But it is not only a back and forth movement between words, images and sounds, the action quickly becomes a passage to discover something new, to unearth a unique presence. We know now that the lines between mediums are fragile, that the walls are now porous and we are thankful for this evolution. We can travel from one genre into another to try to make sense of the whole world. Video poetry sits at the juncture of oral tradition, typography and vibrations: a fork in the road. It sometimes tells a story through words (narrative-poetry) and at other times, through moving images (non-linear abstraction). In spite of the fact that videopoetry always shows with a red wavy underlines in Microsoft Word, it is not an error. It is a form a comprehension. It is a good road to travel.


Still from What We Take With Us at The New Gallery (2012) Video installation with Valerie LeBlanc

Apr 29, 2014

Des ravins au bout des lèvres (2014)


Après quatre ans de travail, voici Des ravins au bout des lèvres, un projet d’écriture sur la mémoire et le doute, sur l’oubli et le souvenir.

Il y a bien entendu le drame de la maladie de l’Alzheimer – le livre est dédié à Auguste Deter, la première patiente à recevoir en 1901, un diagnostic de cette maladie – mais il est aussi question de l’histoire de l’imprimerie, de la menace des insectes bibliophages qui dévorent lentement les fonds d’archives, de l’art de la classification, de la mémoire absolue, de la mémoire artificielle, du stockage de l’information et de la photographie, technologie de la mémoire.

L’idée d’écrire ce livre m’est venue voilà quatre ans déjà, alors que je transférais des données informatiques. L’ère numérique nous a propulsés dans une situation des plus singulière où le vieillissement de la population et les pertes de la mémoire encourue par celle-ci coïncident avec une accélération et une prolifération de toutes les mémoires artificielle. L’évanescence de la mémoire virtuelle est quelque chose de relativement nouveau qui nous incite à articuler de nouvelle façon d’approcher le passé, mais aussi de nouvelles façons d’envisager le présent et l’avenir.

J’ai voulu, parce qu’il s’agit de la mémoire, nommer ce qui m’a inspiré, ce qui m’a guidé, et les sources sont nombreuses. Ce réseau de reconnaissance se présente sous l’aspect d’une fouille archéologique, composée d’une multitude de strates. Il y a bien sûr les poèmes, mais il y a aussi des notes qui mettent en lumière certains aspects du processus d’écriture. À cela s’ajoute un index ludique qui pourrait être « un point de départ pour les lecteurs gauchers » comme le disait Matthew Goulish. Et parce que le livre parle de la mémoire et des trous de mémoire, le livre est aussi transpercé d’un trou.

Le lancement a eu lieu au Café Aberdeen le 24 avril 2014.

Apr 23, 2014

Afflux – Urban Influx (2014)

Une première!  Un de mes textes intitulés Afflux a servi d’inspiration à Robert Lemay pour créer Urban Influx une oeuvre pour quatuor de saxophones. La pièce a été présentée le 23 mars 2014 à la salle de l’University of Illinois in Urbana-Champagne, USA, avec le Proteus Saxophone Quartet.

Voici le texte et la pièce:


sur les artères immobiles
des villes en mutation
dans le brouillard du matin
le smog de la pensée
dans le flux et le reflux
de cette vie productive
ça roule
sans cesse sans pause




Apr 18, 2014
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Mar 19, 2014

Si l’argent est le symbole… (2014)

If money is the symbol of trust, poverty is the state of distrust

This series of two videos: Fire and Daylight, looks at the world through the transparent windows on banknotes. Transparency has become democracy’s latest value, a panacea for every malaise. But what is this openness all about? Is this a window that we look through, or is it a screen where we project our dreams? Is transparency the state preceding invisibility


Si l’argent est le symbole de la confiance, la pauvreté est l’état de la méfiance, est une série de deux vidéos : Feu et Lumière du jour. La vidéo utilise les fenêtres dans les billets de banque comme des périscopes pour observer le monde.

La transparence est devenue une des caractéristiques fondamentales des sociétés modernes. Elle semble être la panacée à tous les malaises. Mais quelle est la nature de cette limpidité ? Est-ce que c’est une fenêtre qui nous permet de voir l’avenir, ou est-ce un écran où nous projetons nos rêves ? Est que cette transparence est l’état qui précède l’invisibilité ?

If Money is the Symbol – fire

If money is the symbols – daylight

Si l’argent est le symbole – feu

Si l’argent est le symbole – lumière du jour


Daniel H. Dugas

Artiste numérique, poète et musicien, Daniel H. Dugas a participé à des expositions individuelles et de groupe ainsi qu’à plusieurs festivals et événements de poésie en Amérique du Nord, en Europe, au Mexique et en Australie. Son huitième recueil de poésie Des Ravins au bout des lèvres vient de paraître aux Éditions Prise de parole.

Daniel Henri Dugas is a poet, musician and videographer. He has participated in solo and group exhibitions as well as festivals and literary events in North America, Europe, Mexico and Australia. His eighth book of poetry: Des Ravins au bout des lèvres has just been published by Les Éditions Prise de parole.



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