Video poetry

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Video poetry is poetry in video form. It is also known as videopoetry, video-visual poetry, poetronica, poetry video, media poetry, or Cin(E)-Poetry depending on the length and content of the video work and the techniques employed (e.g. digital technology) in its creation.

Video poetry is a wide-ranging category where very different typologies of works converge. Some video poetry works use digital elaboration to achieve Digital poetry that is entirely generated by software. When absent of digital effects, video poetry is akin to performance works or a poetry reading recorded in video (digital or analogue) but goes beyond the straightforward act of recording to establish a link with video art. In this sense, video poetry is a particular form of video art comprising poetry texts elaborated at various acoustic and visual levels.[1]


In 1978, Canadian poet Tom Konyves used the term "videopoetry"[2] to describe "Sympathies of War",[3] his first work in the genre, and is considered to be one of the original pioneers of the form. He began researching videopoetry in 2008, resulting in the 2011 publication Videopoetry: A Manifesto, that defined the form as "a genre of poetry displayed on a screen, distinguished by its time-based, poetic juxtaposition of images with text and sound. In the measured blending of these three elements, it produces in the viewer the realization of a poetic experience."[4]

In the early 1980s Gianni Toti began mixing cinema, poetry text, and electronic images to create a new genre called “poetronica”. In general, his video poem operas are films produced with the support of cultural centers such as the Centre de Recherche Pierre Schaeffer (CICV) in Montbéliard (France) and various universities. Gianni Toti could be considered the intellectual father of the term and the most active researcher on the subject, developing several conceptual and artistic derivative artifacts such as "VideoPoemOpera", "VideoSyntheatronica", "VideoPoemetti", among others.

In the late 1980s, Richard Kostelanetz produced video poems and fictions exclusive of kinetic words by using Amiga text programs. These short sequences were collected in randomly accessed DVDs titled, Video Poems and Video Fictions.

Video poetry developed in the 1990s, with short experimental video works and video installations which vary in typology, length, and structure.

Authors who have contributed to video poetry as a specific genre exclusive from video art include Arnaldo Antunes, Philippe Boisnard,[5] Jennifer Bozick and Kevin McCoy, Caterina Davinio, Gary Hill, Philadelpho Menezes, and Billy Collins, former poet laureate of the United States.

Also defined as video poetry are videos without the presence of poetry as text. Some media poems utilize words in motion, emphasized in their iconic and typographical aspects grounded in the Futurist tradition. These pieces are elaborated digitally using animation software and computer graphics. Among the authors who explored this genre in the 1990s are Arnaldo Antunes, and Caterina Davinio.

Among sound and performance artists related to poetry performance in video (but emphasizing the specific video language) are Akhenaton, Litsa Spathi,Gabriele Labanauskaite with group AVaspo and Fernando Aguiar.


  1. ^ Caterina Davinio, Tecno-Poesia e realtà virtuali (Techno-Poetry and Virtual Reality), essay (It/En), with preface by Eugenio Miccini Mantova, Sometti, 2002.
  2. ^
  3. ^
  4. ^
  5. ^ Boisnard won the Multi-media Grand Prize awarded by the SGDL de France for his video poetry creations.


  • Eduardo KAC, New Media Poetry: Poetic Innovation and New Technologies, "Visible Language" Vol. 30, No. 2, Rhode Island School of Design, 1996
  • AAVV, La coscienza luccicante. Dalla videoarte all’arte interattiva, Gangemi, Rome 1998
  • S. BORDINI, Videoarte e arte, Ed Lithos, Rome 1995
  • Caterina DAVINIO, Tecno-Poesia e realtà virtuali (Techno-Poetry and Virtual Reality), essay with preface by Eugenio Miccini (It/En), Mantova, Sometti, 2002.
  • Caterina DAVINIO, “Parole virtuali. La poesia video-visiva tra arte elettronica e avanguardia”, in "Doc(K)s. Un notre web” (book & CD), serie 3, 21, 22, 23, 24, Ajaccio (F) 1999
  • Caterina DAVINIO, "Scritture/Realtà virtuali" in "Doc(K)s" (web), 2000
  • Sandra LISCHI, "Elettronica, videoarte e poetronica", in Vito ZAGARRIO (a cura di), Storia del cinema italiano 1977-1985, Guido Lombardi
  • Sandra LISCHI, Visioni elettroniche, Fondazione Scuola Nazionale di Cinema. Collection: Biblioteca di bianco e nero, Rome/Venice, Marsilio, 2001
  • Gianni TOTI, "Il video artista, cattiva coscienza della TV", «Cinemasessanta», 190, January–February 1990.
  • Marco Maria GAZZANO, Gianni TOTI, "Immagine & Pubblico. Video", special n. dedicated to video art, suppl. n. 2/3, April – September, Ente Autonomo Gestione Cinema, Rome 1990
  • Gianni TOTI. "Il tempo del senso", in “Internet Catalogue”, XVIII VideoArt Festival, Locarno (CH) 1997


General Bibliography[edit]

  • P. CASTELLIN, J. TORREGROSA, P. BOOTZ, "DOC(K)S/Alire" 10, Series 3, n. 13/14/15/16, Ajaccio (France) 1997
  • V. ACCAME, Quale segno, arte scrittura comunicazione, Archivio di Nuova Scrittura, Milano 1993
  • "ALIRE", revue sur disquette, Mots-Voir (27, Allée des Coquelicots, 59650, Villeneuve d'Ascq)
  • L. ANCESCHI, Progetto di una sistematica dell’arte, Milano 1997
  • J.-P. BALPE, "L'Ordinateur, sa muse", in "Pratiques" nº 39, Metz 1984
  • J.-P. BALPE, "La position de l'auteur dans la génération automatique de textes à orientations littéraires", in "Lynx" nº 17, Université de Paris-X Nanterre, Nanterre, 1987
  • E. BARRET, The Society of Text, Hypertext, Hypermedia, and the Social Construction of Information, MIT Press, Cambridge 1993
  • M. CALVESI, Le due avanguardie. Dal Futurismo alla Pop Art, Milano 1966
  • P. L. CAPUCCI, Realtà del virtuale, rappresentazioni tecnologiche, comunicazioni, arte, Bologna 1996
  • P. L. CAPUCCI, Arte e tecnologie, Comunicazione estetica e tecnoscienze, Edizioni dell' Ortica, Bologna 1996
  • F. CAROLI, L.CARAMEL, Testuale. Le parole e le immagini, Comune di Milano, Mazzotta Editore, Milano 1979
  • L. CARUSO, C. PIANCASTELLI, Il gesto poetico. Antologia della nuova poesia d'avanguardia, Portolano, Napoli 1968
  • M. COSTA, L’estetica della comunicazione, Castelvecchi, Roma 1999
  • M. COSTA, Il sublime tecnologico, Castelvecchi, Roma 1998
  • M. COSTA, Tecnologie e costruzione del testo, Napoli 1998
  • E. COUCHOT, La technologie dans l'art, De la photographie à la réalité virtuelle, Jacqueline Chambon, Paris 1998
  • D. DAVIS, Art and the Future, A History/Prophecy of the Collaboration between Science, Technology and Art, Praeger, New York 1973
  • A. D’ELIA (a cura di), Artronica, catalogo, Mazzotta, Milano 1987
  • S. DINKLA, Pioniere interaktiver Kunst von 1970 bis heute, ZKM - Cantz Verlag, Karlsruhe 1997
  • J. DONGUY, 1960–1985, Une génération. Poésie concrête, poésie sonore, poésie visuelle, Henri Veyrier, Paris 1985
  • J. Donguy, Poésies expérimentales—Zones numériques, Presses du réel, 2007.
  • U. ECO, Lector in fabula, Milano 1979
  • V. FAGONE, L'immagine video. Arti visuali e nuovi media elettronici, Feltrinelli, Milano 1990
  • P. FERRI, La rivoluzione digitale. Comunita’, individuo e testo nell’era di Internet, “Mimesis”, collana “Eterotopie”
  • F. FOREST, Pour un art actuel, L'art à l'heure d'Internet, L'Harmattan, Ouverture Philosophique, Paris 1998
  • C. GOODMAN, Digital Visions, Computers and Art, Harry N. Abrams, New York 1987
  • R. KOSTELANETZ, The Avant-Garde Tradition in Literature, Prometheus, Buffalo 1982

. "Literary Videotapes" in The New Poetries and Some Old. Southern Illinois University, Carbondale, 1991.

  • D. JACKSON, E. VOS, J. DRUCKER, Experimental - Visual - Concrete: avant-garde poetry since the 1960s, Rodopi, Amsterdam, Atlanta 1996
  • J. KOSUTH, L'arte dopo la filosofia. Il significato dell'arte concettuale, Costa & Nolan, Genova 1987
  • B. LONDON, Video e linguaggio, a cura di The Museum of Modern Art, New York 1989
  • F. MENNA, La linea analitica dell'arte moderna, Einaudi, Torino 1976
  • P. MASNATA, Poesia visiva. Storia e teoria, Bulzoni, Roma 1984
  • E. MICCINI, "Poesie e no", in Théatron, vol.1, Verona 1990
  • E. MICCINI, Poesia visiva e dintorni, Firenze 1995
  • E. MICCINI, L. PIGNOTTI, Poesie in azione, con introduzione di Pietro Favari, Giubbe Rosse, Firenze 2001
  • M. RUSH, New Media in Late 20th-Century Art, Thames & Hudson, London 1999
  • "SYMPOSIUM", Ciencias, Humanidades e Letras, anno 5, n. 1, giugno 2001, semestrale dell'Università Cattolica de Pernambuco; numero monografico dedicato a generi e comunicazione
  • A. SPATOLA, Verso la poesia totale, Paravia, Torino 1978
  • "VISIBLE LANGUAGE" nº 30, 1996
  • A. VUILLEMIN, M. LENOBLE, Littérature et informatique, Artois Presses Université, Arras 1995

See also[edit]