Aug 11, 2020
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Interview with Catherine Parayre (2020)

Videopoetry / Videopoésie by Daniel H. Dugas and Valerie LeBlanc has been launched through the Small Walker Press, Centre for Studies in Arts and Culture, Brock University, St. Catharines, ON. Here are some still images from our recent conversation with Dr. Catherine Parayre, Editor at The Small Walker Press. The interview will be released next week!

The online version of the book can be downloaded for free at the following address: https://dr.library.brocku.ca/handle/10464/14790

The book is also available in paper version. Purchase inquiries: basicbrugel@gmail.com

We would like to thank the Canada Council for the Arts for assistance through an Explore and Create Grant. Due to COVID 19 restrictions, we are presenting the interview in lieu of an onsite launch at Brock University.

Jul 8, 2020
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(un)continuity (2020)

We are pleased that our installation Around Osprey has been included in the Electronic Literature Organization Conference and Festival 2020.

About the exhibition

(un)continuity is an invitation to explore fluidity, to break binaries, and challenge categories: works in this exhibition explore representation and presentation; play along spectra of light, sound, and probe the visible-invisible; and embrace unity and discord. This type of boundary work is at the heart of electronic literature, a practice of exploring the limits of born-digital storytelling that includes multimodal writing, digital art, playful narrative, interactive fiction, literary games, hypertext, and screen fiction.

This exhibition is part of the Electronic Literature Organization Conference and Festival 2020, hosted by the University of Central Florida and occurring online starting July 16th. Curated by Shannon Lindsay, Ha’ani Hogan, and Anastasia Salter, the exhibition was originally intended for physical space: however, following the closure of most shared physical space with the advent of global pandemic, the exhibition was re-imagined as a virtual, interactive display. The exhibition includes interactive, procedural, generative, and otherwise experimental works by artists from around the world.

Originally, this work was planned as two separate installations for the UCF Art Gallery and Orlando CityArts. These spaces are still adapting, as COVID-19 numbers continue to rise in the state of Florida. Some works are captured only through documentation as a result: others have been fully reimagined, and represent new work created in response to the current moment. As we imagine how gallery spaces persist even as public buildings remain closed to crowds, the curators hope this exhibition will provide inspiration and connection.

Curated by Shannon Lindsay, Ha’ani Hogan, and Anastasia Salter


Around Osprey is a two-screen projection based on our artist residency with the Conservation Foundation of the Gulf Coast in Osprey, FL, 2018. We created the two video programs: Element A and Element B.

For this virtual exhibition, the two video programs have the same duration of 29 min 38 sec, simulating the interactive element of the original design. The suggested viewing setup is: two laptops placed side-by-side; Element A on the left, Element B on the right. The two programs should be started simultaneously.

Element A is a series of 12 poetic videos and relates to explorations. The moving pictures and sound treatments for these were gathered from our notes, poetry and stories, research outings, and meetings with local residents. The overall flow of the work relates to encounters with the natural world, environmental concerns over development and human encroachment into natural settings, and what derives from those human interventions.

Element B – Our explorations of coastal areas were overshadowed by the omnipresence and effects of the Red Tide, aka K. brevis. As it altered the environment, it also shaped our perceptions. As the cell count of these organisms grew, fish and other oxygen-starved sea animals washed up on beaches. We humans also choked for air. To bring forward observations about the far-reaching effects of the Red Tide, we created Element B (no sound), a real-time reading of a data sets for K. Brevis weekly cell counts. (For this virtual exhibition the real-time has been replaced with a video capture.) Element B can be seen as a disrupted state of the environment. The data was entered by day and location on 16 South Florida beaches over a twelve-month timespan. When the counts are low, there is little-to-no change in the moving pictures. When the counts are higher, the images take on corresponding degrees of red tint and temporal shifts that show up as blurriness. The cell count data and location are not directly related to the images they are placed upon, instead, the flow of effects on images relates to how nature works, in cycles, always little by little, and sometimes, surprisingly fast, with overwhelming effects. The text information, on the bottom left of Element B is as follows: K. brevis cell count | Date | Location.

To aid the visualization of the K. brevis data, we are including the information below:

Possible effect of K. brevis

Not present – Levels of 1 cell or less: No effects anticipated
Very Low – Levels > 1 – 10 cells/ml: Possible respiratory irritation; shellfish harvesting closures
Low – Levels > 10 – 100 cells/ml: Respiratory irritation; shellfish harvesting closures; possible fish kills
Medium – Levels > 100 – 1,000 cells/ml: Respiratory irritation; shellfish harvesting closures; possible fish
kills; detection of chlorophyll by satellites at upper range of cell abundance
High – Levels > 1,000 cells/ml: As above plus water discoloration

Jun 8, 2020
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Sur la dune de Bouctouche « comme si tout’l monde se connaissait. » (2020)

L’autre jour, alors que nous marchions sur la dune de Bouctouche, nous avons croisé deux femmes, une qui était assise dans le sable près du rivage et l’autre qui marchait lentement dans l’eau à mi-corps. J’ai pensé en la voyant ainsi marcher (parce que l’eau est encore très froide à ce temps de l’année) qu’elle allait aux toilettes dans la mer. C’est peut-être parce que nous regardions la baigneuse que celle assise, en voulant détourner notre attention, nous lança: « Vous avez l’air des touristes ! » Surpris et un peu ébranlé, je répondis par un simple non.

En continuant notre marche, je me suis mis à penser à cette étrange remarque. Elle sous-entendait que nous n’avions pas l’air du coin, qu’on détonnait. Le contexte de pandémie dans lequel nous vivons rend cette question quelque peu problématique. Un commentaire xénophobe qui se basait soit sur notre apparence physique, soit de la façon dont on s’habillait. Ce n’était pas nos accents, car elle nous avait jugés avant qu’on eût ouvert la bouche. Si nous n’étions pas des alentours, nous étions d’ailleurs et par le temps qui court tout ce qui vient d’ailleurs est une menace pour la santé publique. Juste pour voir sa réaction j’aurais dû lui dire, en toussant un peu, qu’on arrivait à l’instant de la ville de New York. Ça aurait pu marcher, car je portais cette journée-là un t-shirt de l’exposition Artistic Licence qui avait été présentée au Guggenheim l’automne dernier.

Mais qu’en est-il de ce « Vous avez l’air des touristes » ? Est-ce que c’était une insulte ou plutôt une boutade qui visait à nous faire déguerpir; une tactique pour que les deux acolytes puissent occuper en toute quiétude la totalité de la dune? Je ne sais pas. En fin de compte, cela n’a pas trop d’importance, je pouvais toujours me réjouir que dans ce coin de pays, apparemment au patrimoine génétique réduit, nous ne partagions pas tous les traits communs.

Heureusement pour nous, nous n’avons pas croisé d’autres villageois avec des torches et des fourches. Personne n’est venu nous menacer. Cette journée-là nous étions des étrangers, une gang de New York just on our own.

—————————–

Photos de Valerie LeBlanc
‘…comme si tout’l monde se connaissait’
 est un vers du texte Tableau de Back Yard de Guy Arsenault tiré du livre Acadie Rock (1973).

May 24, 2020
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Sur la route (2020)

Le sentier Ruisseau Rabbit à Moncton fait tout au plus trois kilomètres et demi de longueur. Ce n’est pas l’un des grands sentiers de l’Amérique du Nord, mais je l’emprunte régulièrement, il traverse le territoire, la zone où je vis. Une des sections, que j’aime particulièrement, longe le ruisseau; à cet endroit on a presque l’impression d’être en forêt.

Sur les sentiers
L’autre jour alors que je marchais dans le petit boisé, j’ai entendu quelqu’un siffler bruyamment. Comme je ne savais pas d’où provenait l’avertissement, j’ai regardé instinctivement à ma droite, vers les cours arrière des maisons qui bordent le sentier, en pensant que quelqu’un appelait son chien. À ce moment, un autre sifflement plus fort s’est fait entendre. J’ai regardé derrière moi et un Eddy Merckx, un Lance Armstrong local, habillé en tenue de compétitions me dépassa en trombe. Il devait faire entre trente et trente-cinq kilomètres à l’heure. Je me suis tassé sur le côté en le regardant passer.

Si on voyait ces mêmes ratios de vitesse transposés sur les routes, nous serions tous sidérés par leur ampleur. La marche normale et dynamique se situe à une vitesse médiane de 5 km/heure et la vitesse normale standard à vélo est de 20 km/heure. Si je marche à 5 km/heure et que le siffleur arrive à trente-cinq kilomètres/heure, il va sept fois plus vite que moi. Allons maintenant sur l’autoroute où la vitesse est limitée entre 60 et 100 km/heure. Une automobile roule, disons à 100 km/heure, une autre voiture klaxonne derrière, et la dépasse à 700 km/heure. C’est évidemment trop vite et je suis convaincu que ça ne serait pas toléré. Malheureusement, pour les piétons, c’est quelque chose qui arrive assez souvent.

Même si la majorité des cyclistes partagent les sentiers avec les piétons de façon respectueuse, il y en a plusieurs qui utilisent ces chemins comme des pistes de course avec les piétons comme obstacles dynamiques. Mais ça, ce n’est pas nouveau, dans la chaîne alimentaire des modes de transports, le prédateur alpha est l’automobiliste, le cycliste – quoi qu’on en dise – est en deuxième position. Le piéton lui fait office de phytoplancton, ou de zooplancton. Parce qu’il est le moins rapide, il est dans le chemin de tout le monde – même sur les trottoirs qui lui sont pourtant réservés.

Sur les trottoirs
Dans la nouvelle normalité dans laquelle nous nous vivons, plusieurs d’entre nous avons remarqué que les trottoirs ne sont pas très larges. Il est impossible de garder une distanciation sociale sur 4 pieds de largeur. Si l’on y ajoute des bicyclettes, le problème est vite décuplé. Parce qu’elles ont des roues, la solution la plus logique est de voir ces vélos circuler sur les routes. La ville de Moncton a même un arrêté (no T-410[1]) où il est stipulé qu’il « est interdit d’utiliser un trottoir autrement que pour un usage piétonnier […] » En 2012, la police de Moncton a resserré brièvement les règlements et donné quelques contraventions, mais il semble que depuis il y a eu un relâchement considérable[2].

À toute les fois que je vois un cycliste s’approcher sur un trottoir, je me demande pourquoi il a pris cette décision. Pourquoi rouler sur un trottoir avec des trous et des bosses lorsqu’une piste cyclable existe juste à côté? C’est un grand mystère qui s’explique peut-être par la peur d’être happés par un véhicule. Ce qui est étonnant et déconcertant tout à la fois, c’est qu’ils n’ont aucune crainte de nous frapper, le danger n’existe que pour eux. Nous, les piétons, nous ne sommes qu’une espèce en voie de disparition, une extinction qui n’arrive pas assez rapidement pour certains.

Daniel H. Dugas
le 22 mai 2020

[1] ARRÊTÉ no T-410, Ville de Moncton
http://www5.moncton.ca/docs/bylaws/By-Law_T-410_Use_of_Streets-arrete_utilisation_rues.pdf

[2] Moncton police crackdown on cyclists
https://www.cbc.ca/news/canada/new-brunswick/moncton-police-crackdown-on-cyclists-1.1267573

 

May 9, 2020
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The value of ours lives (2020)

The Covid-19 pandemic has given us a chance to know what our leaders think of the value of ours lives. If this isn’t cool, it is at least interesting.

Yes, life is complicated and we know, priceless. Nevertheless, there are methods to assess the value of a life, which is also a complicated thing to do. Different economists will come up with different results. It all depends on the angle that is chosen. Two basic and often quoted methods to monetize and estimate the value of a life are the VSL (value of statistical life) and the QALY (value of a quality-adjusted life-year). In the U.S., the Office of Management and Budget puts the value of a human life in the range of $7 to $9 million. We can assume that the numbers in Canada are near those of the US. As we also know how much money the governments have thrown at the coronavirus crisis so far, we should be able to calculate how far our societies will go to preserve life or decide to let some go.

The whole situation is a conundrum at best or a Hobson Choice at worst: we live next to a factory that spews toxins over our communities, but that is where we work.

See also: The Cost of a Human Life, Statistically Speaking

Photo, Library of Congress: Residents of shack town making daily round through the city dump looking for anything of value. Dubuque, Iowa | Vachon, John, 1914-1975, photographer


 

Your Life Is Worth $10 Million, According To The Government
NPR, July 17, 20208:01 AM ET

https://www.npr.org/sections/money/2020/07/17/870483369/your-life-is-worth-10-million-according-to-the-government

Apr 23, 2020
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Videopoetry / Vidéopoésie announcement Liberated Words (2020)

Videopoetry = Vidéopoésie
BY  · PUBLISHED  · UPDATED 

Wonderful news that the mammoth – over 400 pages – publication Videopoetry = Vidéopoésie by leading Canadian videopoets Valerie LeBlanc and Daniel H. Dugas is now out online https://dr.library.brocku.ca/handle/10464/14790 

Published by Brock University’s Small Walker Press it is a comprehensive survey of their collaboration over a thirty-year period. Catherine Parayre has written the French introduction, with Lucy English writing in English. It has also been my pleasure to contribute an essay on their extraordinary body of work. In my research it took me a long time to get to know (and relish) all their developments. I am particularly fond of their use of documenting first-hand experience as in ‘Slices of Life’ from the nineties for example; as well as their finely crafted and important ecopoetry films of more recent years. For my in-depth analysis on their filmic and poetic techniques please check out the book itself.

But I would just like to say that what adds to the poetry (that is always succinct, and of its time and place whilst setting us on a philosophical path), is the fact that it is bilingual. This can create comparisons (visual as well as verbal), as one language is typeset next to the other, but also reminds us of their Canadian roots, and all its associations and influences (geographic, artistic and political). The poetry and the videos emanate not just from the combining of two creative fields, and the collaboration and consequent creative marriage of two people, but two significant cultures. This ‘bilinguality’ extends our understanding of what it means to be not just poetically engaged and enlightened but politically aware in the 21st century. Go Read!!!!

Apr 21, 2020
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Videopoetry = Vidéopoésie by Sarah Tremlett (2020)

Videopoetry = Vidéopoésie
by Sarah Tremlett, published april 21, 2020 – updated april 23, 2020

Wonderful news that the mammoth – over 400 pages – publication Videopoetry = Vidéopoésie by leading Canadian videopoets Valerie LeBlanc and Daniel H. Dugas is now out online https://dr.library.brocku.ca/handle/10464/14790

Published by Brock University’s Small Walker Press it is a comprehensive survey of their collaboration over a thirty-year period. Catherine Parayre has written the French introduction, with Lucy English writing in English. It has also been my pleasure to contribute an essay on their extraordinary body of work. In my research it took me a long time to get to know (and relish) all their developments. I am particularly fond of their use of documenting first-hand experience as in ‘Slices of Life’ from the nineties for example; as well as their finely crafted and important ecopoetry films of more recent years. For my in-depth analysis on their filmic and poetic techniques please check out the book itself.

But I would just like to say that what adds to the poetry (that is always succinct, and of its time and place whilst setting us on a philosophical path), is the fact that it is bilingual. This can create comparisons (visual as well as verbal), as one language is typeset next to the other, but also reminds us of their Canadian roots, and all its associations and influences (geographic, artistic and political). The poetry and the videos emanate not just from the combining of two creative fields, and the collaboration and consequent creative marriage of two people, but two significant cultures. This ‘bilinguality’ extends our understanding of what it means to be not just poetically engaged and enlightened but politically aware in the 21st century. Go Read!!!!

 

http://liberatedwords.com/2020/04/21/videopoetry-videopoesie/

Apr 7, 2020
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Videopoetry/Vidéopoésie |SWP launch (2020)

Press Release

Videopoetry / Videopoésie by Daniel H. Dugas and Valerie LeBlanc is launched through the Small Walker Press,​ Centre for Studies in Arts and Culture, Brock University, St. Catharines, ON. The online version of the book has now been released: https://dr.library.brocku.ca/handle/10464/14790

The release date for the two-volume paper version has bee​n postponed until fall 2020.

About the book
Our need to revisit and to re-evaluate works completed from the late 1980’s to 2018 led us to the creation of this book. We are happy to share the actual works and documentation of these collaborative and individually based projects.

The texts are in English or French, some are presented bilingually. Introductions by Catherine Parayre and Lucy English as well as in-depth commentary by Sarah Tremlett.

We would like to thank editors Gina Maranto and Catherine Parayre. Thanks to Olivier Lasser for his help with the layout. We acknowledge the support of the New Brunswick Arts Board.



Communiqué de presse

Les éditions Small Walker Press,​ Centre for Studies in Arts and Culture, Brock University, St-Catharines, ON, viennent de lancer Videopoetry / Videopoésie de Daniel H. Dugas et de Valerie LeBlanc. Le livre est maintenant disponible en version numérique / libre accès : https://dr.library.brocku.ca/handle/10464/14790

Le lancement de la version papier se fera à l’automne 2020.

À propos du livre
Ce livre réuni des textes et des images provenant de vidéopoèmes réalisés au cours des trente dernières années. Nous sommes heureux de pouvoir partager ici ces œuvres collaboratives et individuelles, textuelles et virtuelles.

Les textes sont en anglais ou en français, certains sont présentés de façon bilingue. Le livre contient des textes d’introduction de Catherine Parayre et de Lucy English ainsi qu’un commentaire détaillé de Sarah Tremlett.

Nous aimerions remercier Gina Maranto et Catherine Parayre pour leur travail d’eìdition. Merci à Olivier Lasser pour son aide avec la mise en page. Nous remercions le Conseil des arts du Nouveau-Brunswick de son soutien.

 

The Small Walker Press addresses the research and creative interests of faculty members at the Marilyn I. Walker School of Fine and Performing Arts at Brock University, and engages with authors, artists and academics alike to produce small, innovative publications.

Mar 7, 2020
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ELO Conference (2020)


We (Valerie LeBlanc and Daniel H. Dugas) are very happy that our project ‘Around Osprey’ has been accepted for the upcoming Electronic Literature Organization conference in Orlando, Florida, July 16-19th. The exhibit entitled ‘(gen)erations’ will be open to the public for one month at the CityArts in downtown Orlando. ‘Around Osprey’ was developed in Osprey during an artist residency with the Conservation Foundation of the Gulf Coast.

We hope that the Coronavirus will go away and not wreak havoc into all things.

More news later >>>>>>

The Electronic Literature Organization is a non-profit organization established in 1999 to promote and facilitate the writing, publishing, and reading of electronic literature.

Mar 4, 2020
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Poetry Films for the Environment (2020)

Death in the Morning (water) has been selected for the Poetry Films for the Environment at the Lyra Festival

Poetry Films for the Environment
Arnolfini Art Gallery
16 Narrow Quay, Bristol BS1 4QA, FREE EVENT Sat 14th March 1–2

LYRA looks like being a truly amazing festival this year and we are very pleased to be showcasing these films. There will also be an accompanying screening booklet on the website of the artists and poets featured, and essays by Lucy English and Meriel Lland. There will also be what promises to be a very stimulating panel discussion with Mark Smalley from Extinction Rebellion leading the way.

international screening
Mary McDonald, Penn Kemp; Ian Gibbins; Helen Dewbery, Suzannah Evans; Helen Moore, Howard Vause; Jutta Pryor, Lucy English; Janet Lees; Fiona Tin Wei Lam, Tisha Deb Pillai; Valerie LeBlanc, Daniel Dugas; Meriel Lland; Sarah Tremlett.

panel discussion
Mark Smalley from Extinction Rebellion; ecopoets Helen Moore, Meriel Lland and Caleb Parkin, with poetry filmmaker Sarah Tremlett, curator and co-director of Liberated Words CIC. Chair poet Lucy English, co-curator, co-director of Liberated Words and Lyra festival.

https://www.lyrafest.com/#events/e61060

@lyrafest @liberatedwords @ArnolfiniArts

 

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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. Videopoésie / Videopoetry, coécrit avec Valerie LeBlanc, vient de paraître aux aux éditions Small Walker Press.

Daniel H. 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 eleventh book of poetry, co-written with Valerie LeBlanc, Videopoésie / Videopoetry has just been published by the Small Walker Press.

Date : April 2020
Genre : Vidéopoésie/Videopoetry
Français/English

Videopoetry / Vidéopoésie

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