Sarah Tremlett
May 2017 (updated March 2019) extracted from the The Poetics of Poetry Film, Intellect Books and online at: Moving Poems www.movingpoems.com (June, 2017), Atticus Review https://atticusreview.org (July-Aug, 2017), Poetryfilmkanal http://www.poetryfilm.de (Aug, 2017) and PoetryFilmLive www.poetryfilmlive.com. |
From the MPhil Research project (2014) into contemplative texts and audiovisual rhythms, where cyclical or rotational and metronomic audiovisual temporal patterning explore ways of revising the temporal prosody of traditional verse-based page poetry.
see essay opposite | ||
This is a poetry film which plays with repetition, not only in the spoken verse but through the scrolling motion of the 'page as screen' and also the appearance and disappearance of the visual elements which are digital concrete poetry. The coloured lines of pattern are determined by the lines of verse.
Between linear text and a ‘natural’, cyclical, rhythmic dynamic – text from a womens’ magazine slowly disappears and re-emerges through a changing coloured sphere, echoing the colours of the seasons, accompanied by the rhythmic beat of star sounds.
Experimenting with Contemplative Visual Rhythms and Poetry – from the Page to Audio-Visual Prosody
This film is from 2009. Along with other films in the Contemplative Text and Audio-Visual Rhythms Project it was screened at: The Cultural Communication Centre, Klaipeda, 2009, part of a British Council funded solo show; The Poetry and Voice Conference, Chichester University, 2010; Fabrika Project Space in conjunction with NCCA Moscow, 2010, and MIX 2012 where I gave a talk on rhythm and visual poetry. It is part of a research project that I began at The University of the Arts, London, developing contemplative rhythms on the poetic page to the screen. Page-based temporal notations for verse, such as metre and cyclical 'turning' become metronomic heart beat and cyclical, rotating (transposition or appearing and disappearing) rhythms in text in the moving image. As an artist and writer Error Eros was an experiment with the 'still' painting-like space, with contemplative minimal text and minimal text alteration, yet creating opposite states from altering a couple of letters – Error to Eros. The X symbol carries more than one meaning. Here it represents both the kiss and the red error mark, along with the heartbeat, and maybe prompt thoughts between the two, but can be interpreted as you like.
Taking a look at how women are asked to see themselves through sample phrases from womens' magazines. As the text scrolls up the screen every time the words 'I' and 'Home' hit the top of the screen an error beep sounds. This, in turn, creates a pattern of sounds.
Taking a look at how women are asked to see themselves through sample phrases from womens' magazines. As the text scrolls up the screen every time the words 'I' and 'Home' hit the top of the screen an error beep sounds. This, in turn, creates a pattern of sounds.
Patterned Utterance II (2012) explores the relationship between matter and the scientific monitoring process. Utilising the sensitivity of a scanning probe microscope to probe a piece of silicon, vibrations from the spoken word have subverted the readings given, thereby altering the on-screen data from the microscope. Where the sound of the voice occurs (as conceptual philosophical statements) there are ‘errors’ or white ‘blanks’ in the reading. Vocality becomes materiality as visible pattern. As the scan reverses so the voice reverses and becomes pure sound, or reversed meaning. An earlier version of this film was made without sound and the words transcribed on the case of the D.V.D. The term ‘patterned utterance’ was taken from the American artist Susan Hiller.