Writings of 'Who'

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A videopoem performance piece.

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For a backdrop, I slung a rich, red Chinese satin cloth over a room divider, pulled my iMac up close, and recorded a recitation of the poem ten times in PhotoBooth, each time adding more jewelry, a swath of orange beads across the neck and shoulder, a rhinestone dangly tiara. The excesses of perhaps too much expression decreased as I became tired and the speaking of the poem emerged more clearly as it rendered through me.

Besides preparing for a performance piece, I used a number of techniques and filters in the editing of the videopoem. In PhotoBooth, Apple's fun camera still and video program, I used a spotlight plugin, which was cool; unfortunately Photobooth's resolution is low. The video was imported into Final Cut Express where I layered it in curious and idiosyncratic ways, adding a vignette to the base layer, and color emboss to the other one. Both those layers also received a maximum de-interlace flicker filter. The lens flare title and credits were done in iMovie and added as tiny clips to the timeline. I used FCEs scrolling text option for the poem, adding a light rays video filter to it. Finally I added a caustics render video generator track to the whole piece.

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For textual influences, in comments on the original poem post I wrote:

Kristeva did a lecture at the University of Toronto in the late 1990s on the question of 'Who' that I attended, but didn't connect then to the 'who' of the muse. Blanchot's 'The One Who Was Standing Apart From Me?'... is my particular inspiration here.

On the 'coded' "unconscious" of the Freudian/Lacanian school: I, too, incline towards a phenomenology of consciousness, whatever that may be. How often do I access my own personal symbols to write? References that might be opague to others. From Célan I learnt much on interweaving the personal myths in such a way that my symbol stream is only hinted at and whose full meaning remains just out of reach.

Kristeva is where I first learnt of the 'speaking subject,' the 'speaking voice.' Can we take it further to the 'writing subject,' the 'writing voice'? Though I don't want to get trapped in semiotics either.

John Walter wrote, in response to the poem, and it is worth quoting: "You ask the hard problem that Beckett asked throughout his entire oeuvre, especially the trilogy of novels Malone, Malloy Dies, and The UnNameable as well as his classic one man play, Krapp's Last Tape: "Who is the voice speaking within me, if it is not me, and it speaks when I don't, all my life, up until my last breath."

You pose it in a variety of fascinating ways here."

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Poem, written in 2006; videopoetry performace, 2011.

                                          

Mirror of Venus

I am the mirror that I watch my
self in.

Behind the mirror is where I see.

Only ask for the 'freedom to revolt- psychic,
analytic, artistic- a permanent state of questioning,
of transformations, an endless probing of appearances,'
......found on the dustjacket
......of a book by Kristeva,
who wrote about revolt, and love.

Everyone should love wholly once in their life, as
the daughter of fortune knows.

The tenor of love demands it.

Love, illicit, a revolt against the order
of the rest of it.

The amatory moment is poetry, open-ended,
without a story to guide it, what's behind the mirror
where I watch your face.

Venus, Goddess of Love, married to Hephaestus, master craftsman.

Of course love is wedded to art. How else
could it be?

The block was a red clay-baked brick which took two hours to smash. It revealed
itself, heavy, smoldering with beaten passion, betrayals and intrigues, over my heart. Cracks of light appeared that became white-red lava that disintegrated slowly the faster I danced.

When I melted into the mirror, love flowed freely.

Venus, Goddess of Love, but she knew her Ares, Mars, God of Fire and War.

Venus undid her bodice and melted
into his arms.

Illicit. Love.

Sometimes I prefer the quietness
of my own thoughts.