Thursday, August 17, 2017

Celia Parra Díaz--poet, filmmaker

1 What is your creative process? Do you write your own texts or utilize those of others? If the latter, how do you choose a suitable poem?

I am a poet myself, so I tend to use my own texts. Usually, the poem comes first. Being something I wrote, it’s easier for me to come up with more layers of meaning and translate them into a flow of images and sounds that would complement the poem. 

So, first I analyze the text (in terms of: theme, poetic subject and object, scenario, sensations, etc). Then, I try to think of imagery that would complement what’s already in the poem and also express its atmosphere. Sometimes I create meaning by contradictions or contrasts, sometimes I create a parallel “narrative” that seems to flow apart but eventually fits with the intentions of the poem. I always shoot, edit and post-produce the images myself. In some cases, I have used royalty free material. I was also the composer of the music used in my early videopoems, but now I prefer to collaborate with professional musicians to achieve better results. 

2 One aspect of videopoems is the significant amount of labour that goes into producing a project. This labour often increases as the project becomes longer. Do you find that sometimes you change a poem because of some of the technical challenges of making a longer videopoem? Or is this sort of factor irrelevant to you?

As I assume almost all tasks when producing my videopoems, I’m well aware of my abilities from scratch, and that influences the way I conceive the creation of a videopoem. I don’t think making a longer videopoem involves more technical challenges. You could make a perfectly nice 10 min videopoem with only long static shots. What really complicates the production is how you plan the filming. For example, shoot from inside a car while someone drives to get a moving landscape, instead of renting a dolly of a crane. I like to take a minimalistic approach towards the videopoems I create. I never change a poem, I’d rather adjust the shooting or editing idea to ensure I’d get a nice result with the tools I have. 

3 You do a lot of work with Versogramas, Please tell us something of the history and activities of this cultural organization.

Versogramas is a transmedia project about the international videopoetry scene, produced from Galicia (Spain) by Esferobite producer company. 

I came up with the idea of producing a long feature documentary about videopoetry when I was doing my master’s degree in production back in 2013. I was introduced to Juan Lesta and Belén Montero, co-owners of Esferobite, a company specialized in experimental video, multimedia and cultural productions. They loved the idea and accepted to produce it. We’ve been working together ever since, and thanks to their talent and experience the project has evolved a lot. 

We’ve developed various formats to explore videopoetry with different tools: a creative documentary, a webdoc, an exhibition, an experimental long feature and a book + DVD. We are currently focusing on finishing the documentary, and a Galician publishing house will publish and distribute the book + DVD next year. 

Belén Montero is the scriptwriter, editor, and one of the directors. The other one is Juan Lesta, also a producer, executive producer and postproducer. I am also an executive producer, producer and community manager. We worked with a bigger team during shooting, of course. 

While looking for funds to produce the documentary, we created a weekly section in our web called “videopoem of the week”. Each week I would comment and share one of our curated videopoems, with the intention of expanding the presence of videopoetry online, making it reach wider audiences, and also gain some audience of our website as well. Frequency actually decreased to a monthly videopoem while pre-production and shooting but fans kept increasing. We are really happy with the result!

We finished shooting on June. Now we are looking for distribution: we plan to exhibit the documentary within festivals and televisions. Once the documentary is on the road, we’ll figure out how to produce the rest of the formats. 

4 In "Matrioshkas", a videopoem that employs images of matrioshkas (often known in the West simply as multiple Russian dolls that fit in each other) and antique boxes to suggest the layers of the self. The film works well as both a linguistic and visual metaphor. In a case like this, does the poem come first? Or do the images? Or is there is a sort of gestalt, with the visual and the linguistic evolving together?

I always felt a fascination for matrioshkas. In this case, the poem also came first. I’ve used matrioshkas as a metaphor in some other texts, with that exact intention you have mentioned. Also, to suggest how we hide ourselves, our identity, from the world. I already had that matrioshka my mum gave me as a child, so the idea of making a videopoem with it appeared quickly. But while I was setting all up I thought I’d also like to depict identity in some other way, highlighting the duality between real and reflection, how we see ourselves and how we’d like to be seen. And that’s when the idea of the mirror appeared. During the shooting, I experimented with those opposite ideas: the idea of hiding yourself (rather “your-selves”) and the idea of showing yourself (a particular layer? a distorted image?). 

That doesn’t happen in all videopoems I make. I do set aside enough time to experiment while shooting, but I think my starting point is a shooting plan made from the analysis of a poem. 

5 Do you follow a particular aesthetic (for example, avant-gardist, or dreamscape-ist, or populist), or do these labels mean nothing to you?

I tend to adapt the style to what fits the poem the most. Some videopoems require an abstract approach (such as one of my last works, “Abrasion”) but some others require a simpler, realistic approach (such as my last videopoem “Adondar a lingua”)

6 What is the purpose of video poetry? What distinguishes it from textual poetry, or music videos, or experimental film?

I think videopoetry transmits the atmosphere of a videopoem, using image text and sound. I like to think that its purpose is to arouse emotions, to move people in a deep way.

For me, there are four main differences between videopoetry and other similar genres: it’s based on a poem, the poem is always present (whether on-screen or audible), length is fixed and there is some sort of “narrative” intention in it. 

7 Who are some of your influences?

I’m not really aware of the aesthetic influences I may have. As a poet: most of my favourite writers are Galician poets, all women, from the eighties till now. As a filmmaker: my discourse tends to reflect upon language, communication and identity. In that way, films like Persona (Ingmar Bergman), Michelangelo Antonioni’s so-called “trilogy on modernity and its discontents”, and some works by Michael Gondry strongly impressed me. Also Jim Jarmush’s “Paterson” and the most recent works by some directors whose style was recently labeled as “New Galician Cinema”, such as Lois Patiño, Oliver Laxe, Diana Toucedo and Xisela Franco. As a videopoet, concretely: I love Swoon’s, Melissa Diem’s and Martha McCollough’s work. 

8 How does the collaboration process work for you?

I usually collaborate with musicians to create the soundtrack of a videopoem. It’s a nice interesting process, which I enjoy a lot. The sound atmospheres of my last videopoems were composed, interpreted and mixed by Alejandro Almau. Usually I give him the poem and a few notes on my intentions with the video, and when the videopoem is finished we discuss how to create the soundtrack. He always comes up with awesome ideas. I’m usually there when he starts to play some sketch notes, we exchange opinions and come to a music draft which he improves later. 

9 What are you working on now that excites you?
Now I’m completely focused on the production of Versogramas and also starting to write a new poetry book. I already have some ideas to turn some of those texts into a videopoem, we’ll see. 

Bio: Celia Parra (Ourense, 1990) is a film producer and award-winning poet. She was awarded in several poetry prizes, has written the individual poem collection No berce das mareas (The craddle of tides) and counts with texts published in diverse collective publications. Devoted to the experimentation of hybrid forms of poetry: digital poetry, videopoems and audiopoems. She is currently producing Versogramas, the first documentary about the international videopoetry scene with producer company Esferobite (A Coruña, Spain)

Sunday, August 13, 2017

신두리/ Sinduri

한국 신두리 해변에서 

La plage en Corée de sud.

The seaside in South Korea.

Thursday, August 10, 2017

Manuel Onetti -- Poeta y cineasta/ poet, filmmaker

1 What is your creative process? Do you write your own texts or utilize those of others? If the latter, how do you choose a suitable poem?

1 ¿Cuál es tu proceso creativo? ¿Escribes tus propios textos o utilizas los de otros? Si es esto último, ¿cómo eliges un poema adecuado?

-Mi proceso creativo no es un proceso muy complejo. Normalmente me surge una idea, y como suelo trabajar con “lo personal” no tengo la necesidad de documentarme mucho para un trabajo específico aunque por supuesto parte de la formación como artista es ver y estudiar el trabajo de otros artistas. Sí que antes de desarrollarla por escrito suelo meditarla mucho, así de esta forma una vez que tomo la decisión no suelo hacer muchos cambios en el desarrollo práctico de esta, suelo trabajar muy rápido el apartado técnico, tanto la escritura como la búsqueda o grabación de imágenes así como el montaje de estas. En general es un proceso creativo muy intuitivo. 

-Siempre escribo mis propios textos porque además de cineasta soy escritor,  he publicado un libro de poesía y participado en diferentes publicaciones. 

-My creative process is not a very complex process. I usually get an idea, and since I usually work with "the personal" I do not have the need to document how a lot for a specific job, although of course part of the training as an artist is to see and study the work of other artists. And before developing a project in written form I usually meditate a lot, so in this way once I make the decision I do not usually make many changes in the practical development of a piece. I work very fast from a technical point of view; both in terms of the writing and searching for or recording of images, as well as in the way I assemble these. In general, it is a very intuitive creative process.

I always write my own texts because besides being a filmmaker, I am a writer. I have published a book of poetry and participated in different publications.

2 en su serie Diaro doméstico, utiliza un montón de imágenes en bruto para crear una estética casual, similar a la de una película casera. Unas cuantas preguntas. Primero, por favor, háganos saber su proceso aquí. ¿Está grabando muchas imágenes y descartando lo que no encaja con su visión de la película? ¿O está utilizando la mayoría de sus imágenes de rodaje y el desarrollo de la estética visual de las películas basadas en eso? 

2 in your Diaro doméstico series, you use a lot of rough footage in order to create a casual aesthetic, similar to that of a home movie. A few questions. First, please tell us about your process here. Are you shooting a lot of footage and discarding that which does not fit your vision of the movie? Or are you using most of your shot footage and developing the movies' visual aesthetic based on that?

El proceso en mi proyecto Diario doméstico consiste en una mezcla de las dos preguntas. No suelo grabar muchas imágenes pero sí que descarto en el momento de montar lo que no encaja con mi visión sobre lo que quiero hacer en esa película;  pero el desarrollo de la estética visual en mis trabajos esta claramente basado en la “imagen doméstica” aunque en algunas ocasiones introduzco ciertos elementos de otros márgenes como lo documental por ejemplo. En algunos casos son películas que están más cerca de lo antropológico y en otros  me permito una inclinación más poética o política. 

The process in my Domestic Diary project consists of a mixture of the two questions. I do not usually record many images, but I do discard those which at the time do not fit my vision of what I want to do in that movie. But the development of visual aesthetics in my works is clearly based on the "domestic image", although on some occasions I introduce certain elements of other genres -- such as documentary, for example. In some cases my projects are films that are close to being anthropological, and in others I allow a more poetic or political inclination.

3 The series title Diaro doméstica suggests a fascination with the everyday and the "found". Any philosophical underpinnings to that, either in terms of essays you have read or private thoughts you have had?

3 El título de la serie Diaro doméstico sugiere una fascinación con lo cotidiano y lo "encontrado". Qué fundamentos filosóficos, ya sea en términos de ensayos que ha leído o pensamientos privados que ha tenido subyace en este proyecto?

En mi serie Diario doméstico el común denominador es lo personal. Todas las películas son sobre mi, sobre mi entorno, pero lo que me interesa a través de esta búsqueda es llegar a lo universal. Esa es la verdadera fascinación, encontrar en lo cotidiano, en este caso en lo individual, aquello que nos une, lo colectivo, la verdad en definitiva, que como decía Tarkovski es el fin último del arte. En este proyecto no puedo decir que tenga ningún referente filosófico que marque mi creación, todo mi proceso creativo es muy intuitivo y emocional. Lo que si me llevó a realizar este proyecto claramente es el proyecto de Diarios de Jonas Mekas al que considero un gran referente. También he tenido siempre presente a Joseph Beauys y sus ideas desarrolladas en el libro “Cada hombre un artista”. 

In my series Domestic Diary the common denominator is the personal. All the movies are about me, about my environment, but what interests me through this quest is to reach the universal. That is the true fascination, to find in everyday, in this case in the individual, that which unites us, the collective, the truth in short, that as Tarkovski said is the ultimate end of art. In this project I can not say that I have any philosophical references that mark my creation, my whole creative process is very intuitive and emotional. What made me realize this project clearly is the Jonas Mekas Journals project, which I consider a great reference. I have also always had Joseph Beauys and his ideas developed in the book "Every man an artist".

4 Tu trabajo más largo "Cuths of Lithuania" también tiene una calidad suelta, encontrada a ella. Pero es una pieza mucho más larga. ¿Está estéticamente conectado con Diaro doméstico o es un proyecto totalmente diferente?

4 Your much longer work "Cults of Lithuania " also has a loose, found quality to it. But it's a much longer piece. Is it aesthetically connected to Diaro doméstica or is it a totally different project?

Este es un proyecto que realicé unos años  antes de empezar con  el Diario. Tuve la oportunidad de vivir durante unos meses en Lituania como voluntario en una biblioteca y me propuse hacer una especie de ensayo fílmico sobre Jonas Mekas. Pero al final lo que me salió sí que podría ser el primer diario doméstico pero en un formato más estructurado y de mayor duración. Es un trabajo más pensado en cuanto la estructura y sobre todo a la hora de tomar decisiones en el montaje. Me costó mucho la decisión de no narrar la película y dejarla en ese silencio que esta sumida por la falta de personajes y diálogos. Pero definitivamente se puede considerar el antecedente al trabajo en el diario por así decirlo sí. 

This is a project that I did some years before I started with the Journal. I had the opportunity to live for a few months in Lithuania as a volunteer in a library and I set out to make a kind of film essay about Jonas Mekas. But in the end what came out to me could be the first domestic newspaper but in a more structured and longer format. It is a job more thought as the structure and especially when making decisions in the assembly. It cost me a lot the decision not to narrate the movie and leave it in that silence that is plunged by the lack of characters and dialogues. But you can definitely consider the background to work in the journal so to speak yes.

5 En su corto "Matarse", la sensación es muy diferente: más concisa, dramática y casi siniestra. ¿Cuál fue su proceso aquí? ¿Cuál fue la génesis del poema? Puesto que se trata de matar y morir, ¿ofrece deliberadamente un contrapunto a la celebración de la vida regular de su trabajo anterior? ¿O es una pieza completamente discreta y separada?

5 In your short "Matase", the feeling is much different: more terse, dramatic and almost sinister. What was your process here? What was the genesis of the poem? Since it is about killing and death, does it deliberately provide a counterpoint to the celebration of regular life of your earlier work? Or is it a completely separate piece?

Matarse no lo considero un corto, pertenece a mi serie de videopoemas. El proceso aquí es muy sencillo. De todos los poemas que escribo suelo escoger aquellos que tienen mayor significación para mi o encuentro una gran conexión visual. Entonces busco las imágenes en bancos de imágenes libres de derecho normalmente como y conformo el video sobre mi propia narración. Este poema esta basado en la idea filosófica y espiritual de la catarsis, para crear algo nuevo hay que destruir lo antiguo, también este pensamiento fue expresado en la psicología a través del concepto “matar al padre” de Freud como superación y realización personal desligada de los lazos familiares. No considero que este videopoema, por estos motivos, tenga un fin siniestro aunque la imagen sea algo inquietante, realmente no dejo de celebrar la vida en él, celebro la nueva vida que hay por llegar si eres capaz de destruir todo aquello que nos han impuesto. De todas formas este trabajo no  tiene nada que ver con mis otros proyectos , este pertenece a una serie de videopoemas que tienen la misma base, mi propia narración sobre imágenes de archivo que salvo en este caso normalmente también tienen una relación personal aunque no las haya grabado yo. 

This poem is based on the philosophical and spiritual idea of catharsis. In order to create something new, the old is to be destroyed. This thought was also expressed in psychology through Freud's concept of "killing the father" as a self-improvement and realization detached from family ties. I do not think that this videoopoem, for these reasons, has a sinister end although the image is something disturbing, I really do not stop celebrating life in it, I celebrate the new life that is to come if you are able to destroy everything that we have imposed . Anyway this work has nothing to do with my other projects, this belongs to a series of videopoems that have the same base, my own narration about archival images that except in this case usually also have a personal relationship, even if they are not Recorded me

6 ¿Cuál es el propósito de la video poesía? ¿Qué lo distingue de la poesía tradicional  y los videos musicales y el cine experimental?

6 What is the purpose of video poetry? What distinguishes it from regular poetry and music videos and experimental film?

Lo que yo intento hacer con la videopoesía es llevar mis propios poemas a otra dimensión ajustada a una memoria visual propia en la que a su vez los demás se puedan reconocer por un motivo u otro. Creo que el video es una buena herramienta  en este caso para dotar de una expresión diferente a la poesía tradicional, explorar los límites de esta a través de la imagen. Precisamente todo esto es lo que creo que lo diferencia de la poesía tradicional, aunque sin esta no habría videopoesía. Por otro lado, considero que los videos musicales son meros productos comerciales que no tienen nada que ver con un propósito artístico por muchos adorno y elementos que puedan trasladar desde el mundo del arte para su propósito. Y bueno, el cine experimental creo que es otro mundo, un mundo con una gran trayectoria desde Val del Omar o  Maya Deren a nuestros días, cierto que normalmente se suele identificar el cine experimental con un cine más “poético” pero creo que este es muy amplio como para encasillarlo de ese modo. 
What I try to do with videopoetry is to take my own poems to another dimension adjusted to an own visual memory in which the others can be recognized for one reason or another. I think the video is a good tool in this case to give a different expression to traditional poetry, explore the limits of this through the image. Precisely all this is what I think differs from traditional poetry, but without it there would be no videoopoetry. On the other hand, I consider that music videos are mere commercial products that have nothing to do with an artistic purpose for many adornment and elements that can translate from the art world to its purpose. And well, experimental cinema I think is another world, a world with a great trajectory from Val del Omar or Maya Deren to our days, true that usually experimental cinema is usually identified with a more "poetic" cinema but I think this is Very wide enough to pigeonhole it that way.

7 ¿En qué estás trabajando ahora que te entusiasme?

7 What are you working on now that excites you?

Pues ahora estoy escribiendo algunos proyectos, pero a diferencia de todos mis anteriores proyectos en los que me he hecho cargo yo de todo me gustaría poder contar con el apoyo externo de alguien que estuviera interesado por estas ideas. Sobre todo estoy desarrollando un guión sobre el anarquismo en Andalucía, la región de España donde nací y es mi proyecto más ambicioso por lo que no puedo hacerme cargo solo, evidentemente sobre todo en la parte económica. Sería la primera vez que trabajara con actores y escenarios específicos porque lo que es necesaria una producción detrás que lo apoye. Es un proyecto influenciado principalmente por La Comuna de Peter Watkins ,una de mis películas favoritas. Y  por supuesto sigo adelante con el diario doméstico, es un proyecto que no tiene fecha de caducidad y mis videopoemas. 

Well now I'm writing some projects, but unlike all my previous projects that I have taken care of, I would like to be able to count on the external support of someone who is interested in these ideas. Above all I am developing a script about anarchism in Andalusia, the region of Spain where I was born and is my most ambitious project so I can not take care of myself, obviously especially in the economic part. It would be the first time to work with specific actors and scenarios because what is needed is a production behind it. It is a project influenced mainly by the Commune of Peter Watkins, one of my favorite films. And of course I go ahead with the domestic diary, it is a project that has no expiration date and my videopoems. 


Manuel Onetti (31,08,1985, España). Escritor y cineasta. Realiza tanto películas experimentales como trabajos dentro del videoarte a través de la reapropiación y la videopoesía. Con "Cromosoma P" es seleccionado en la convocatoria Hamaca-Museo Reina Sofía 2015. Ha expuesto individualmente en el CentroCentroCibeles de Madrid y en proyecciones colectivas en La Neomudéjar, Madrid y Diwap, Sevilla, así como en diferentes festivales de videopoesía como el Fractal  durante varias ediciones y los festivales de videoarte y cine experimental de Barcelona BANG, VideoBardo, Argentina, Proceso de Error, Chile, l Sign On/ Sign Off en Alemania o el primer festival La sombra, Chile. Como escritor ha participado en diversos medios tanto españoles como latinoamericanos con sus poemas, relatos o artículos de opinión. Su primer libro de poesía se llama “Sol eléctrico amarillo”, Baile del Sol, 2017.

Manuel Onetti (31,08,1985, Spain). Writer and filmmaker. It performs both experimental films and works within video art through reappropriation and videoopoetry. With "Chromosoma P" is selected in the call Hamaca-Reina Sofía Museum 2015. He has exhibited individually in the CentralCentroCibeles of Madrid and in collective projections in La Neomudéjar, Madrid and Diwap, Seville, as well as in different festivals of videopoesía like the Fractal during Several editions and the video art and experimental film festivals of Barcelona BANG, VideoBardo, Argentina, Error Process, Chile, Sign On / Sign Off in Germany or the first La sombra festival, Chile. As a writer he has participated in various Spanish and Latin American media with his poems, stories or opinion pieces. His first book of poetry is called "Sol eléctrico amarillo, Baile del sol, 2017.


Monday, July 24, 2017

펄/ Paul

Illustration par moi-même pour un roman illustré

Illustration I did for an illustrated novel

Saturday, July 22, 2017

Est-ce que les jeux informatiques menacent la littérature?

위험한 장마의 비/ La pluie dangereuse/ Dangerous rain

Mini-doc on the phenomenon of super-jangma; that is, extreme monsoon weather in Korea. Jangma flooding is always somewhat dangerous, and every year there is flooding severe enough to cause injuries and death. 

But several years ago, Korea experienced a "keun-bi ", in which over 600 ml. of rain fell in 24 hours (annually Korea receives on average approximately 800 ml.). The result was catastrophic, and the black and white photos in this video are from a magazine article I wrote about some of the damage in our district. 

At that time, mudslides destroyed apartments. The municipal government has is continuing to upgrade flood breaks and storm sewers--just as well since climate change seems to be a factor in this weather trend.

장마/ Mousson pluie/ Jangma rains