Jul 5, 2015
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Dichotomy in Black and White (2015)

Dichotomy in Black and White is the pictorial collision of individually born projects juxtapostioned into new scenarios. Valerie LeBlanc and I have set up Dichotomy to breathe new life into previously created works. On a monthly basis, images once captured, filed and sometimes forgotten, will be brought back from our archives to face each other, to share in the light.

The project can be seen on JUiCYHEADS

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TIME TRAVEL IN THIS MOMENT VS HOW MANY LUXURY CARS IN YOUR TOWN?
August 6, 2015


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ROCKS VS INK ON PAPER
July 5, 2015


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LONG ARMS VS. OILY FINGERS
June 10, 2015


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SILHOUETTE WALKER VS SILHOUETTE MUDSC
MAY 23, 2015


 

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KANGAROO VS QM
April 2015

Jun 16, 2015
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Une amende est une amende est une amende (2015)

Ne voyez-vous pas que le véritable but du Novlangue est de restreindre les limites de la pensée ? À la fin nous rendrons littéralement impossible le crime par la pensée car il n’y aura plus de mots pour l’exprimer. Winston Syme, 1984

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Un article paru récemment dans l’Acadie Nouvelle a retenu mon attention. Le journal nous informe « qu’au cours de l’été, la GRC va remettre des billets de “contravention” à ceux qui font preuve d’un comportement exemplaire et sécuritaire ». Cette initiative, présentée par la ville de Tracadie, la Santé publique et la GRC récompense le comportement positif d’un jeune ou même d’un adulte en leur donnant des « amendes positives »[1].

Mais quelle est cette histoire ? On ne remettrait pas des récompenses négatives, ça ne ferait pas de sens. C’est pourtant ce qu’on dit dans le journal que les amendes sont des récompenses, alors pourquoi ne pas l’écrire sur la bannière ?

L’idée de détourner quelque chose de sa vraie nature (le mot « amende » signifie « peine pécuniaire infligée pour une infraction », pour en faire quelque chose de positif est une idée tordue. C’est foutre le bordel dans la tête des enfants — qu’on voulait au départ protéger avec des casques de vélo — que de leur enseigner des concepts erronés. Qu’une amende soit quelque chose de favorable, c’est tenter de nous faire croire que la nuit est en fait le jour. Il existe dans le novlangue, une langue inventée par Orwell pour son roman 1984, des mots trompeurs qui ont changé de sens et qui signifient le contraire de ce qu’ils exprimaient auparavant. Sommes-nous en présence d’un cas classique de doublepensée ?[2]

Et puis, comment en est-on arrivé là ? Est-ce qu’à force de porter le carcan de la Sécurité nationale nous avons perdu la capacité de détecter ce qui est vrai et ce qui est faux ? Si une amende est une chose positive, est-ce que la perte des libertés civiles l’est aussi ? Est-ce que la folie dystopique de la Sécurité nationale nous a poussés aux confins de l’absurde où la raison n’a plus de raison d’être ?

Le 8 juin 2015


[1] Acadie Nouvelle, Des amendes positives à Tracadie, David Caron.

http://www.acadienouvelle.com/actualites/2015/06/08/des-amendes-positives-a-tracadie/ : [en ligne], consulté le 8 juin 2015.

[2] Le mot clef ici est “noirblanc”. Ce mot, comme beaucoup de mots novlangue, a deux sens contradictoires. Appliqué à un adversaire, il désigne l’habitude de prétendre avec impudence que le noir est blanc, contrairement aux faits évidents. Appliqué à un membre du Parti, il désigne la volonté loyale de dire que le noir est blanc, quand la discipline du Parti l’exige. Mais il désigne aussi l’aptitude à croire que le noir est blanc, et, plus, à savoir que le noir est blanc, et à oublier que l’on n’a jamais cru autre chose. Cette aptitude exige un continuel changement du passé, que rend possible le système mental qui réellement embrasse tout le reste et qui est connu en novlangue sous le nom de “doublepensée”. George Orwell, 1984, Chapitre 9, 1948.

 

May 19, 2015
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FILE 2015

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We are very happy that our FLOW: BIG WATERS video program will to screened during FILE 2015!

FILE SAO PAULO 2015 – PROGRAM
FILE São Paulo 2015
the new e-motion
From June 16th to August 16th

FILE 2015 – Electronic Language International Festival takes place this year from June 16th to August 16th at Centro Cultural FIESP – Ruth Cardoso. In its 16th edition, the festival occupies the Art Gallery of SESI-SP, the Digital Art Gallery (the facade of the FIESP building) with the FILE LED SHOW, and the Mezzanine Floor, where a series of workshops takes place. The festival exhibits the interactive installation “Solar Pink”, by the North American group Assocreation, in the sidewalks of Avenida Paulista, and the installation “Arart” in the subway stations Trianon-Masp and Consolação. Created by Japanese artists Takeshi Mukai, Kei Shiratori and Younghyo Bak, this work creates dynamics in iconic art history paintings using an app for mobile devices.

The FILE 2015 exhibition, that takes place at the Art Gallery of SESI-SP, gathers artistic proposals in several forms such as interactive installations, games for multiple platforms, animations, video art, GIFs, WebGLs, web art and electronic sounds.

The festival also exhibits a projection subtitled in Portuguese of the award-winning movie “Shirley – Visions of Reality”, directed by Austrian filmmaker Gustav Deutsch, a contemporary cult cinema icon. Never shown before in Brazil, the film is based on 13 paintings by American painter Edward Hopper.

The participation in all activities of FILE 2015 is free

MEDIA ART
1 Anne Pasanen & Geo Panagiotidou-Kalevala Book Visualisation-Finland
2 Anni Garza Lau – A Pragmatic Digital Art Manifesto-Mexico
3 Basic Bruegel: Valerie LeBlanc & Daniel H Dugas-Flow: Big Waters–Canada
4 BiarritZZZ-Possawsubawater-Brazil
5 Chang Liu-Wild Growth-United States
6 Daniel Peixoto Ferreira-Join Us-Brazil
7 Daniel Peixoto Ferreira-Learn-Brazil
8 David Clark-The End: Death in Seven Colours– Canada
9 Duda-Ecos #1-Brazil
10 ENRIQUE FRANCO LIZARAZO – D-sonus: aplicativo para criação audiovisual em dispositivos móveis – Brazil
11 Ewa Doroszenko & Jacek Doroszenko – Soundreaming – Poland
12 Hidenori Watanave Laboratory, Tokyo Metropolitan University, The Asahi Shimbun Company & Tokyo Metropolitan Archives – The Tokyo Olympic Archive 1964-2020 – Japan
13 Iono Allen – Butchery – France
14 IP Yuk-Yiu – Clouds Fall – Hong Kong
15 Jason Edward Lewis – Vital to the General Public Welfare (The PoEMM Cycle) – Canada
16 Jason Nelson – The Required Field – Australia
17 Jean-Michel Rolland – Biosphere – France
18 Jean-Michel Rolland – The Endless Journey – France
19 Jenny Lin – Replay: A Memory Game – Canada
20 Jody Zellen – Time Jitters – United States
21 jtwine – UltraHyperDrone – United States
22 Justin Lincoln – The Stroboscope – United States
23 Les Riches Douaniers: Gilles Richard & Fabrice Zoll – Tableau Sisyphéen (Sisyphean Picture) – France
24 Livia Mateiaș – Strings – Romania
25 Luigia Cardarelli – Landscape – Italy
26 Luigia Cardarelli – The Unspoken Words – Italy
27 Luigia Cardarelli – Imagined Time – Italy
28 Luis Hernandez-Galván – This place you see is about to be no more… – Singapure
29 Michael Takeo Magruder – Data_Plex (Babel) – United Kingdom
30 Paganmuzak – Rotational Chaos – Italy
31 Rachel Simone Weil, Torley & Nathalie Lawhead – Monkey Fortunetell – United States
32 reVoltaire – kinema ikon: serial / season one – Romania
33 Roberto Stelzer – Poesia 3D – Brazil
34 Ryota Matsumoto – the High Overdrive and Its Undefinable Consequence – Japan
35 Ryota Matsumoto – the Indistinct Notion of an Object Trajectory – Japan
36 Ryota Matsumoto – Voided by the False Vows of Time – Japan
37 Second Front: Patrick Lichty, LiZ Solo, Bibbe Hansen, Yael Gilks, Doug Jarvis & Scott Kildall – Red Dog For Freddie Herko – United States
38 Will Luers – Phantom Agents – United States

Apr 28, 2015
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Text(e) Image Beat – talks (2015)

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On April 28, Valerie LeBlanc and I each gave a talk at the Galerie Sans Nom during the Frye Festival.

 

pdf Text(e) Image Beat talks given through the Galerie Sans Nom and the Frye Festival, (pdf 2mb)

Apr 15, 2015
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Protected: RENCONTRE DU TEXTE ET DE L’IMAGE DANS L’ŒUVRE DE THEODORE DE BRY : perspective d’analyse de données textuelles (2015)

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Mar 23, 2015
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To Speak About Our Time (2015)

Transcript of Daniel Dugas’ talk given during the AnthropoScene, a semester-long exploration of this new era sponsored by the Leonard and Jayne Abess Center for Ecosystem Science & Policy and the College of Arts and Sciences of the University of Miami with participation by Artists in Residence in the Everglades.

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TOP: The Trinity explosion, July 16, 1945; BELOW: The wolf of Hokkaido, the Tasmanian tiger and the Yangtze River dolphin.

The image of the first explosion of an atomic bomb to represent the beginning of the Anthropocene epoch is a dramatic choice. It is a powerful marker that can also remind us that what starts with a bang could also end with a whimper.

When I was first looking into the terminology for geological time scales, eras, periods and epochs, I was trying to visualize the latter part of the scale. Where are we in there? How do we fit in? What is the correlation between us and the bomb, the bomb and our daily life? If I was to transpose the atomic bomb into a in a more modest span of time, I would think that it would be like starting a new day by getting up on the wrong side of the bed, or worse by getting up only to trip on the carpet at the foot of the bed. The optimist in me says that it would only get better from there.

After taking care of this time scale concept, sort of, I started to worry about the implications of using such an image? What does it mean to have an atomic bomb symbolise the beginning of something? The images of the early blasts are still imprinted in our minds. I can still feel their heat and there is still a part of me that wants to run for cover under a desk or a table. The iconic charge of the bomb is still there and its power continues to frighten us all.

The Oomph Factor
There is a reason for everything. And the reason for choosing the atomic bomb as the icon for this epoch is fine. We all agree that it would have been less persuasive to have used an abstract rendition of a medical isotope. If radiation can be used to heat or to heal, it is also a metaphor for death and destruction, and this brings the atomic bomb, as an icon, much closer to the end of the world than the ‘radioactive substances used by health professionals to assist in the diagnosis and healing of certain health conditions.’ But is this the end of the world? Yes and no. For those who are going to disappear, it is. And we have seen countless of disappearances so far. The wolf of Hokkaido left us in 1889, the Tasmanian tiger in 1936, and the Yangtze River dolphin in 2007, among others. And there will be more species disappear from our world in the future.

Although the image shown suggests that the Anthropocene is the end of the world, it is not. Instead, it is a marker for a state of the world. It demonstrates the farthest we can go, the extreme limit of the human experience. The end of the world has a distance and a time frame attached to it. In the Everglades it was the name that the people living in what is now known as Flamingo thought the place should be called. It was about space. For the estimated between 90,000 – 166,000 people who died in the Hiroshima explosion, it was the end of time.

In 2004 I created the installation Nuclear Mickeys with an audio component entitled 666 seconds of hesitation. The sound track was based upon the Robert Oppenheimer “Now I am Become Death” recording.[1] The Nuclear Mickeys were nuclear explosions that got a fashion makeover for easy and safe consumption. I wanted to show how marketing swallows and dilutes meaning, making everything a game. I was fascinated by the silences and hesitations in Oppenheimer’s speech and based the soundtrack on them. The recording is 58 seconds in length; 28 seconds are comprised of silences, hesitations and breathing. I cut out the words and only kept these pauses. For me, these are the real messages, the heaviest messages.

I would like to draw your attention to this time-lapse map of Japanese artist Isao Hashimoto. It spotlights 2053 nuclear explosions that have taken place between 1945 and 1998.[2]

Alternative Symbol: Implosion vs. Explosion
So, we know the exact time and place of the first atomic bomb: July 16, 1945, at 5:29:45 a.m., Alamogordo, New Mexico. To be exact, the birth of the modern world is the Alamogordo Bombing and Gunnery Range (now known as the White Sands Missile Range), and in an ironic twist, owing to the Atari video game burial of 1983, Alamogordo could also be known as a mass grave of our modern world:

This was…a mass burial of unsold video game cartridges, consoles, and computers undertaken by American video game and home computer company Atari, Inc. in 1983. The goods disposed of through the burial were generally believed to have been unsold copies of E.T. the Extra-Terrestrial, a game which had become one of the biggest commercial failures in video gaming and is often cited as one of the worst video games ever released.[3]

If the bomb is a great source of inspiration and fascination you have to agree that the whole Atari burial thing is quite something as well. And the cherry on the cake goes to the Vice Admiral Blandy, and his wife cutting the Atomic Cake in a 1946 ceremony celebrating the first explosion in a post war era (peacetime). All is a question of perception and attitude.

End of the World Narrative vs. Speed of the World
The great acceleration of human activities that has been happening in the last 60 years has also transformed our perception of the world. But Speed is an interesting word. It means ‘rapidity of movement, quickness, swiftness’, but in old English SPED means ‘success, a successful course; prosperity, riches, wealth; luck; opportunity, advancement.’ [4] We thrive on speed, it is been the foundation of our modern world. And even if everything goes by faster and faster, we believe that everything will be okay. Everything has to be okay for things to go on. And we like things to go on. This message of hope is conveyed in every advertisement, in every slogan: Beyond Petroleum (bp), Make things better (Toyota), Solving Challenges (Halliburton) or Solutions are in our nature (David Suzuki) –all offer visions of optimism and possibilities.

In 2010, we all witnessed the Gulf of Mexico oil spill. For me, it was a watershed moment of great sadness. I was emotionally shaken by what I was seeing. Like many, I stood there powerless, watching the strange image of oil gushing out of a pipe. We were witnessing an endless leak of oil, right in the middle of the so-called Peak Oil period. What followed changed our perception of disaster. I think from that moment, no disaster would be seen the same way.

Two week after the blowout, I listened to the CBC (Canadian Broadcasting Corporation) interview with Dr. Overton, Professor Emeritus at Louisiana State University’s Department of Environmental Science. He spoke of the uncertainty and the scope of the event, noting that it would never be as big as the Exxon Valdez. The doctor talked about the oil spreading over a much longer period of time than the spill from the ill-fated tanker and explained how the effects would be less severe. He went on to compare the situation to a house fire saying that ‘a room might be on fire, but it doesn’t mean that the house is in danger.’ I was shocked to hear something like that. The doctor was actually comparing the oil spill and the Gulf of Mexico to the ‘room’ and the rest of the planet to the ‘house’, talking about the environment as a series of compartments, secluded from one another, with fire doors in between habitats, something like a weekly pill organizer.

And somehow the disaster went away. In mid August President Obama and his daughter Sasha were already swimming for the cameras at Panama City Beach. Normality prevailed.

Less than a year later, on March 11, 2011, we collectively witnessed the Fukushima Daiichi nuclear disaster. The meltdown of three of the plant’s six nuclear reactors was big news for a while, but this too went away. It did not take long for Japan’s Prime Minister, Shinzo Abe, to assure the International Olympic Committee that radiation leaks at the plant were ‘under control’. Eighteen months after the meltdown, the Olympic Committee announced that Tokyo (238 kilometres from Fukushima) would host the 2020 Summer Olympics. And suddenly, rapidly, successfully our planet becomes a house; we can close the Gulf of Mexico door or the Fukushima door and celebrate all that is good in the world. We would like to think that. Unfortunately, last week’s FUKUSHIMA UPDATE revealed that another pool of highly contaminated water was found to be leaking into the sea.[5] According to some, the final clean-up will take 40 years.

The lesson to be learned from both of these disasters is one of attitude and perception. If such disasters can occur so close to us, to them, and everything is fine, then we have to realize that the disasters to come have a serious benchmark to surpass in order to be qualified as worrisome. The earth can take it. She is tough. We’ll close the door or draw the curtains down.

Functions of the artist: Eye witnessing/investigating/reporting/
What can artists do, how can we contribute? Much like the artists sent on explorers’ ships, we can draw or take photographs of what we are seeing as a legacy for the future. Our function will be to document what is out there, but more importantly, we can keep the door open and make sure that the curtain stays up. Wassily Kandinsky said that artists have a responsibility to speak about their time, to speak about the spirit of their age. To paraphrase Roy – the leader of the renegade Nexus-6 Replicants in the movie Blade Runner, I will add that not speaking about our time here, would be like losing tears in the rain. If we take responsibly for something, we acknowledge that we can do something, and to forfeit this opportunity is like losing tears in the rain.

Daniel Dugas
March 4, 2015
University of Miami, FL

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[1] Now I am become Death, the destroyer of worlds
“We knew the world would not be the same. Few people laughed, few people cried, most people were silent. I remembered the line from the Hindu scripture, the Bhagavad-Gita. Vishnu is trying to persuade the Prince that he should do his duty and to impress him takes on his multi-armed form and says, ‘Now I am become Death, the destroyer of worlds.’ I suppose we all thought that, one way or another.” Interview with J. Robert Oppenheimer about the Trinity explosion, first broadcast as part of the television documentary The Decision to Drop the Bomb (1965), produced by Fred Freed, NBC White Paper. https://www.youtube.com/watch?v=_LmxIptS3cw

[2] A Time-Lapse Map of Every Nuclear Explosion Since 1945 by Isao Hashimoto, 2003
About “1945-1998″ “This piece of work is a bird’s eye view of the history by scaling down a month length of time into one second. No letter is used for equal messaging to all viewers without language barrier. The blinking light, sound and the numbers on the world map show when, where and how many experiments each country have conducted. I created this work for the means of an interface to the people who are yet to know of the extremely grave, but present problem of the world.” http://www.ctbto.org/specials/1945-1998-by-isao-hashimoto/

[3] Atari video game burial
http://en.wikipedia.org/wiki/Atari_video_game_burial

[4] SPEED: Old English sped “success, a successful course; prosperity, riches, wealth; luck; opportunity, advancement,” from Proto-Germanic *spodiz (cognates: Old Saxon spod “success,” Dutch spoed “haste, speed,” Old High German spuot “success,” Old Saxon spodian “to cause to succeed,” Middle Dutch spoeden, Old High German spuoten “to haste”), from PIE *spo-ti-, from root *spe- (1) “to thrive, prosper” (cognates: Sanskrit sphayate “increases,” Latin sperare “to hope,” Old Church Slavonic spechu “endeavor,” Lithuanian speju “to have leisure”).

Meaning “rapidity of movement, quickness, swiftness” emerged in late Old English (at first usually adverbially, in dative plural, as in spedum feran). Meaning “rate of motion or progress” (whether fast or slow) is from c.1200. Meaning “gear of a machine” is attested from 1866. Meaning “methamphetamine, or a related drug,” first attested 1967, from its effect on users.

http://www.etymonline.com/index.php?term=speed&allowed_in_frame=0

[5] Fukushima Update nuclear news from japan
FukushimaUpdate.com went online on October 16, 2011. It is dedicated to providing news and information related to the nuclear crisis at the Fukushima Daiichi nuclear power plant in northeastern Japan. With neither a pro- nor anti-nuclear agenda and no axes to grind, Fukushima Update aims to be a one-stop source for reliable, fact-based reporting about the Fukushima situation.

http://fukushimaupdate.com

Link to Valerie LeBlanc’s talk

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Mar 18, 2015
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Text(e) Image Beat opening! (2015)

Le vernissage de Text(e) Image Beat aura lieu le 20 mars 2015 à la Galerie Sans Nom!
The opening of Text(e) Image Beat will be held on March 20 at the Galerie Sans Nom!

With: Heid E. Erdrich, Hannah Black, Matt Mullins, Martha Cooley, John D. Scott, Tom Konyves, Swoon (AKA Marc Neys), Michel Félix Lemieux, Kevin Barrington, Maryse Arseneault, Fernando Lazzari and Matthew Hayes.

GSN

website: Text(e) Image Beat 


Poster.

La version française sera bientôt disponible

Curators’ Commentary
Valerie LeBlanc and Daniel H. Dugas

Video poetry is a genre that is increasingly drawing the attention of both audiences and creators. We have come a long way since moving pictures with sound required a vast and expensive array of infrastructure and personnel. We are also in a time when the visual vocabulary and knowledge of signifiers is more familiar to wider audiences. This should not come as too great a surprise when we think that what is considered to be the first documented photograph was made close to 200 years ago[1] and that moving picture techniques pioneered in the early 20th century resulted in the first feature film with sound,The Jazz Singer in1927. While photography, moving pictures, and recorded sound / music were first thought to hold value for documentary applications only, the use of these tools are constantly transforming our concepts of art. Through time-based media, ideas move into the thought process; visceral effects are imprinted.

Creators are now presenting their texts visually and / or performing their poems. Many have realized that messages can be effectively conveyed using the multimodal character of video poetry. Similarly to advertisements created for marketing campaigns, these works are characteristically short, less than 5 minutes in duration. Some festivals are asking for works as short as one minute, the duration of some TV ads. The videos in this program have been chosen for their content as well as for the techniques that each creator uses to portray the meaning and aesthetic sense of the content.

The call for Text(e) / Image / Beat did not specify particular themes. Through the necessity of paring down the choices and assembling a flow of works that complemented and gave space to each other, we became aware of recurrent elements. In spite of the fact that the videos originate from many distinct locations, ideas of awaiting / finding miracles and mysteries of living, are frequent. Each work exhibits innovation and imagination, calling upon a wide range of skills to layer meaning. Slam poetry, rants, softly spoken words, hand written notes, and remixes are all used to articulate.

In Pre-Occupied, texts over images; multi-layering stereotypical references from popular culture and memes relating to current and past events carry Heid E. Erdrich’s words like a fast moving river. References to the first American Thanksgiving, Alcatraz, Wounded Knee, Indigenous activists; key words and statements are thrown; fonts are visually woven with voice intonation to deliver meaning. The video opens with an excerpt from Langston Hughes’ The Negro Speaks of Rivers: ‘I’ve known rivers: Ancient, dusky rivers. My soul has grown deep like the rivers.’ Erdrich states the title: Pre-Occupied and then begins her powerful litany, ‘River, River, River, I Never, Never, Never etched your spiral icon in limestone …’. Hughes words continue under Erdrich’s. The dynamics of the lead-in continue through to the end. Closing credits are accompanied with an Anishinaabemowin (Ojibwe) translation of John Lennon’s ImaginePre-Occupied hits chords of dreams for political and social equality: held, dashed, revisited and restated.

A series of spirals are drawn over the neck in the opening scenes of Hannah Black’s video of the same name. Through calling attention to the limitations of her childhood drawings, Black brings a discussion of identity. With her own body as the starting point, she steers her words toward ‘… an improbable form of mediation between a self and its constituent parts: family, body, race, gender, …’ Essentially, her video addresses the whole world and its concerns as she draws the personal into the political arena.

In Our Bodies, Matt Mullins remixes a sermon by televangelist Oral Roberts, cutting away excess material, repeating words and phrases, using split screens, and setting inserts to emphasize specific gestures. Mullins closes the videopoem with an excerpt from a sinners’ prayer, ‘… I am ready to perform a miracle in your life … expect delivery.’ As Oral Roberts interprets the Bible, Matt Mullins, in turn interprets Oral Roberts.[2]

Martha Cooley’s Dog Sitting in Eastern Passage uses a combination of devices. While handwritten pages from a notebook bring her thoughts to life, the pages are set within sequences of photos to create movement. Thrown by a heartbroken author, a dog fetches sticks along the Atlantic coastline. Through the work we are reminded of that basic miracle of video and film media, the persistence of vision that brings us the illusion of movement.

John D. Scott breathes life into Elizabeth Bishop’s 1965 poem Sandpiper. He interprets that Bishop anthropomorphizes into the bird. While sandpipers are known to flit persistently on beaches, her life as a revered writer of short stories and poetry was also one of searches, observations, of taking many directions. A haunting whistle, a rattle and clicks of the typewriter open the video and continue to underline the spoken word. Scott’s collaboration includes rotoscoped bird images by Anna Bron and Andrew Whyte, stills and slow moving images of water and beach. Particular passages are emphasized and punctuated through movement and voice.

Having coined ‘videopoetry’ in 1978, Tom Konyves is recognized as one of the pioneers of the genre. In his video ow (n) ed, politically charged meanings are layered and set into a crypted triptych that he describes as a postmodern vision of human slavery. Punctuated by jazz notes, Konyves has positioned quotes from American Slavery As It Is: Testimony of a Thousand Witnesses[3] on the left. In the center, a tower of humans is constructed and collapses.[4] Consumer commentaries play on the right. As the video progresses, messages on the left spill over, slipping to the right. Through erasure (dropping regions of the text and remixing), Konyves is implying new meanings.

Well known for remix, collaborations and atmospheric compositions, Marc Neys (aka SWOON) has supplied the concept, editing, and music in the creation of Five Miles (Simple Brushstrokes on a Naked Canvas). Howie Good has contributed the poemExcerpts from the 1944 American Military documentary Target for Today, speak about possible bombing but no bodies are seen. Throughout the video an ominous voice repeats ‘five miles.’ Instead of increasing or decreasing the distance to the target, we are forced to hover in abstraction. A slow moving, amorphous bubble suddenly appears. As it floats over green grass the text ‘because a feeling has no form’ is spelled out. In the bellicose tone set by the video, this colorful bubble carries a menacing hint of possible outcomes.

Michel Félix Lemieux’s Brûle le bois vert takes us on a train ride at night. A moving spotlight illuminates the view through a square window. Lemieux describes this work as a poetic and confused reflection on exodus. While we are almost deprived of images in the video, the text is loaded with saturated colors. The words contaminate what we are seeing. In a poem that offers glimpses of mental and emotional moods over any coherent flow of thought, an awareness of solitude pervades.

Kevin Barrington’s I Love the Internet is a skillful fast rant by this Dublin based copywriter and blogger. A collaborative project with Irish animation artist and illustrator Bruce Ryder, the poem advances through use of psychedelic colors and a text matte over quick moving images. The video derives from Barrington’s multi-media e-book of the same name. Barrington states, ‘The impulse was to repel a rising wave of establishment antipathy to social media expression that took hold early in 2013 and threatened to silence satire and online political heckling.’

In constructing Retenir son souffle, Maryse Arsenault used French and English to deliver her texts; a speaking and singing voice; images and sound shot in her own environment; and found footage of a weather phenomenon. The voice, which we understand as Maryse, asks for help. It is the voice that we sometimes need to hear when we are hoping for a miracle. The video ends with sounds of whistling and a bell like that of a life buoy. A small bird goes out and returns 3 times; the repetition works like an incantation in the closing of this lullaby.

Montserrat follows Retenir son souffle in the program. These two very different videopoems explore threads of holding up the world through dark times. To relate an excerpt of Jorge Luis Borges’ Amanecer (Break of Day), Fernando Lazzari uses ‘font as character’. Borges’ poem speaks of a world held together by the imagination of those who inhabit the night, until the day returns and others awake to define its shape with their presence. At times, images move rapidly; sometimes they hover to become imprinted as font generation builds monuments to the words.

Slam Poet Sasha Patterson performs her poem Tonight is for the Trees; cinematography and editing is by Matthew Hayes, with music by Lee Rosevere. Patterson walks out of the darkness along a tree-lined road. At first lit by only a flashlight, she is suddenly in full light and continues to address her audience as she walks toward the camera. The effect is simple and effective. Tonight is for the Trees brings reminders of Christopher Dewdney’s August as both poems celebrate summer and life in southern Ontario.[5] Each passage of Dewdney’s list: nature’s creatures and the beauty of geological formations begins with ‘because’.  Patterson repeats ‘ tonight is for …’ before each new item in her long list of dedications. Links between the two works are not literal but meet in sentiment, intention and appreciation for life, nature and the human presence in it all. Patterson’s fresh and confident voice epitomizes hope.

While Pre-Occupied dropped us into the middle of all things worldly and imagined, Tonight is for the Trees brings closing notes to Image / Text(e) / Beat. In the long history of the known and unknown, the visible and the invisible, the spoken and the unspoken, video poetry sets the prompts, the magic of visions hinted by the words, images and sounds. Rhythm set by videopoetry widens the chances of getting messages out. We hope that a tradition of video poetry will come to be established in Moncton. With the number of poets per capita, it seems to be a viable, and maybe inevitable prospect.

[1] The First Photograph, Harry Ransom Center, University of Texas at Austin:http://www.hrc.utexas.edu/exhibitions/permanent/firstphotograph/

Nicéphore Niépce, Wikipedia: http://en.wikipedia.org/wiki/Nicéphore_Niépce

[2] To appreciate the effectiveness of Mullins’ remix, check out The Hand of God, from Oral Roberts Crusade, St. Petersburg, FL (1964) on You Tube:https://www.youtube.com/watch?v=rGi_vRS9zH8

[3] Theodore Dwight Weld, 1803-1895, ‘American Slavery As It Is: Testimony of a Thousand Witnesses’: http://docsouth.unc.edu/neh/weld/summary.html

[4] In 2010, castells of Catalonia were declared by UNESCO to be amongst the Masterpieces of the Oral and Intangible Heritage of Humanity: http://www.unesco.org/culture/ich/index.php?lg=en&pg=00011&RL=00364

[5] Christopher Dewdney, August, Poetry In Motion (1982), YouTube:https://www.youtube.com/watch?v=CN3AaYp_kyY

Feb 26, 2015
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Deux artistes acadiens en Floride (2015)

Acadie Nouvelle
25 février 2015

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Feb 22, 2015
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AnthropoScene workshop (2015)

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AnthropoScene – color keying workshop
Valerie LeBlanc and Daniel Dugas, University of Miami, FL – March 2015

MOVING IN THE LANDSCAPE: VISIBLE / INVISIBLE
This exercise in visual composition offers opportunities to discuss evidence of human passage in the natural landscape. During the editing process, each person will have access to the workshop footage. This will enable Students to further collaborate on the end result, or to compose individual works. Through voiceover, text over, and added music or sound compositions, the finished works will potentially convey a variety of messages related to the AnthropoScene Conference objectives.

The group will set up a tripod and camera in a fixed position facing a lush green area. (1) An establishing view of the scene will be recorded. (2) Volunteer(s) wearing the blue or white suit(s) will stand still in the green area. Once an image of the person(s) is recorded, recording will continue and the person(s) will move out of position. Volunteers will be encouraged to try out various ways of moving slowly through the scene.

In the editing process, the footage will be layered and color keying will be used to minimize the visibility of the figure(s). The desired effect in this DIY exercise will be an imperfect removal of the figure. (i.e. the keying effect sometimes leaves edge traces and this will reveal the movement of the figure.) Overall, the finished footage should reveal the outline of a (nearly invisible) figure moving in the landscape. During the editing process, Students will make decisions on what the final work will actually convey to the viewer.

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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.

http://www.prisedeparole.ca/auteurs/?id=148

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