For me, the idea of ‘film poetry’ is intrinsically bound up with authenticity; contrived, conceited and overtly self-aware films will struggle to communicate with the same depth and pull (one constantly being reminded they are watching A Film). Authenticity is humbling, engaging (effective as any scriptwriting formula) and altogether human.

Eschewing tackier modes of delivering a narrative in favour of creating something truly personal is difficult – can feel downright punitive (certainly if you’re as doubtful of yourself as I am when working creatively); easy to become disenchanted early on. Over-analysis is the enemy of free-rolling thought – I find it most effective to Stop Thinking So Hard (especially during the early stages of an idea). We have more preconceptions than we realise.

I ran my first filmmaking workshop last month and assaulted my audience with a deluge of instruction for some time before realising I was making the same mistake I’ve made for many years in writing and shooting films – doing can be writing, writing leads to doing-to-writing-and-on. This doesn’t (necessarily) mean shooting. It means submerging oneself utterly in the experience of the film during its creation – being honest to it. ‘Knowing your film’.

If you know your film, you’ll make your film, because you’ll be very aware of any development towards your film that isn’t your film. A purity of vision, I guess… perhaps this is film poetry?

Guest blog by Tina Richardson, University of Leeds

This blog will provide basic instructions how to carry out a dérive, while at the same time attempting to keep within the theme of your blog. So, in between a guide on how to do a bit of psychogeography, there will be some images of Leeds taken on my own dérives, along with their relevant postcodes.

LS4 Kirkstall Electricity Substation

In The Theory of the Dérive the Situationist Guy Debord provides extensive instructions on how to partake in a dérive (drift). The dérive involves moving through the city in a new way by creating different paths by chance. There are a number of methods of doing this, and new ones can be invented, for example drawing a map of one city on top of another and attempting to follow that route. In terms of the philosophy behind it, Debord says: “Progress is nothing other than breaking through a field where chance holds sway by creating new conditions more favorable to our purposes.” (1996: 23). This purpose being to challenge capital as it appears in the form of the spectacle: “The spectacle is not a collection of images, rather it is a social relationship between people that is mediated by images.” (Debord 2005: 4).

LS6 Arndale Centre, Headingley

Abdelhafid Khatib, described the dérive, thus: “At the same time as being a form of action, it is a means of knowledge […]” (1996: 73). For the Situationists it was important that these walks could not be considered a “journey” or a “stroll”. Despite the fact that a playful element was deemed essential, those taking part were expected to be conscious of the environment, especially in the way it tied in with a critique of capitalism. Urban walkers were encouraged to be aware of “fissures in the urban network, […] microclimates, […] administrative districts, and above all the dominating action of centers of attraction” (Debord 1996: 22). It was the domineering appropriation of space by capitalism that troubled the Situationists so much, they believed that people did not live in the city but in the hierarchy formed through the urban environment.

LS11 Subway in Holbeck

The Situationists attempted to rearrange the material matter that appeared as urban décor, and even if they could not do this in concrete space, they had every intention of changing the psychic space of urbanism. These dérives became ‘moments’, or situations: “The ‘moment’ is mainly temporal, forming part of a zone of temporality, not pure but dominant. Articulated in relation to a given place, the situation is completely spatio-temporal [...]” (Situationist International 1996: 101). The Situationists project directed at urbanism was about seizing a moment in time and space and attempting to change its aesthetics for a short time. They were conscious of the effects that the environment have on the individual, and wanted those on the dérives to be both aware of this and at the same time attempt to let notions of the dominance of the capitalist city be temporarily stemmed. The dérives were considered a process of surveying space and consequently enabling a new narrative to arise from it.

LS18 Empty Shop in Horsforth

Situationist Psychogeography Methodology

• Chance, randomness
• Playful but constructive
• Need to let-go and be conscious at the same time
• Spatial field: single city, neighbourhood, or defined region
• Be aware of: liminal (threshold, edge) spaces and interstitial (in-between) spaces
• Recommendation: 5 people max
• Usually limit number of hours and define that as a single derive

Examples for planning a route…

• Turn left, then left, then right
• Throw dice (attach criteria to numbers)
• Draw the outline of one city over another (Situationists)
• Follow subconscious urges, free from the voice of reason (Surrealists)
• In pairs: one blindfolded (enables other senses to operate better)
• In a group: one person writes a place of aesthetic interest on a piece of paper, folds over, and hands to the next person, etc. Plot the places on a map and visit them in turn.

LS12 Bridge and Pipes in Armley

In 2011 I took a group of design students at the University of Leeds on a psychogeographical trip to Armley in Leeds. In preparation for the walks I created these two blogs, which you might find interesting/useful:

Armed for Armley – Part 1:

Leeds Industrial Museum Reconnaissance

Armed for Armley – Part 2:

A Psychogeographer’s Aesthetic Response to the Leeds Industrial Museum Grounds

Thank you for inviting me to write a guest blog.

Keep the (urban-walking) faith!

Links:

Tina’s website: schizocartography

Particulations: psychogeography blog

Bibliography:

Debord, Guy. 2005. The Society of the Spectacle (Detroit: Black and Red).

Situationist International. 1996. Theory of the Dérive and Other Situationist Writings on the City, ed. by Libero Andreotti and Xavier Costa (Barcelona: Museu d’Art Contemporani de Barcelona).

Photo by Ruei Yen and Xara Vlaxou from their flyering album on facebook.

Thanks to Fiona Grieg, freelance producer, we can listen to the enterprising young film curator programmers, Hara Vlahou and Ruei Yen discuss their experiences organising “Under Light and Shadow” their personal interpretation of This Collection’s poems and films to date.

Listen to Fire Horse findings on Leithermagazine.com here.

The event is happening this Saturday June 23rd at Out of the Blue Drill Hall 2-7pm.
There are limited spaces for the free filmmaking workshop with the very talented and funny Oliver Benton from 3-6pm. Register here!

If you are interested in presenting the assortment of collected wonders and running workshops or discussing the methods or materials used in this project feel free to contact filmthiscollection_at_gmail.com.

This Collection is very fortunate to be collaborating with the very talented Anni Poppen of NEOI along with 11 other Non Profit Organisations from around the world.

Anni Poppen, is an award-winning graphic designer from Hampshire, IL who currently lives in the vibrant college town of Champaign, IL. Through her work as a graphic designer, musician, yoga practitioner, and environmental advocate, she was drawn to implementing a flexible business model that would uplift NFPs and small businesses while allowing her creative freedom, travel, and volunteer opportunities.

We’ve been working together since the end of May and every step of the way, she has been supporting This Collection’s move towards a more open web presence and coherent design to showcase work done so far.

We’re looking for

Guest Bloggers to share:

• film poetry that inspires,
• filmic reflections on the city through poetry walks
• dérives based on This Collection poems or films as impulses
• tips on how to develop film poetry and
• exciting experiments that explore the relationship between text and image.

Reblogged from Under Light and Shadow:

Under Light and Shadow is an alternative film event organised by Reui Yen and Hara Vlahou, postgraduate students of Msc Film in the Public Space, as part of  final project.

Inspired by This Collection, a project related with film, poetry and the city of Edinburgh, the event bases on This Collection Archive in order to have This Collection keep on growing and living under the vibrant city Edinburgh.

Read more… 127 more words

IF YOU HAVE EVER BEEN WELCOMED BY THE WELCOMING AND/OR YOU DON’T WANT TO SEE IT GOING, PLEASE TAKE ACTION AND JOINT US IN TRYING TO SAVE IT.

The Welcoming – Grant Cut

The Welcoming has not been recommended for the next batch of funding from the City of Edinburgh Council.
If our grant is cut, The Welcoming is in danger of closing.

We are having a deputation to the City Council, Chambers St on Thursday 9th February at 9.30am. Please come and support in our protest about The Welcoming grant cut!

Also please forward this note to all your contacts, and your local councillor and MSP.

If The Welcoming closes, Edinburgh will lose:

a unique, vibrant and highly cost effective project for newcomers to Scotland:
- training and preparation for migrants, refugees and minority indigenous groups for life in Edinburgh
- provision of a wide range of classes in English, employability, wellbeing and Scottish culture
- 650 classes a year, 6 days a week and over 60 volunteers
- a prime focus for integration, wellbeing and cultural interchange

PLEASE HELP US SAVE THE WELCOMING!!

Watch our new film here: http://www.youtube.com/watch?v=mk0GVvfbaxU&feature=youtu.be

The Welcoming Association, Tollcross Community Centre

117 Fountainbridge Edinburgh. EH3 9QG

Tel: 0131 221 9756

email: thewelcoming2006@hotmail.co.uk

Website: http://thewelcoming.btck.co.uk/

Claire says:

“I had a great time working on this collection, and I am very grateful indeed to all the brilliant poets, filmmakers and artists I got to work with over the course of the project.  It wasn’t always easy, and things didn’t always go to plan, but it was always, always weird, daring and great fun.  Being part of the massive McEwan Hall showcase will remain one of the stand-out moments of my poetic ‘career’ — it was a truly unique and awe-inspiring event.  All our events were special, all our film shoots were mad and brilliant, all our poetry readings were inspiring.  Thanks a million to anyone who was in any way involved.

Thanks in particular to Stan Reeves of the Tollcross Community Centre; and to Mike Spells and Garry Gale of Edinburgh City Libraries — gents, may your glasses at the Bow Bar be ever full.

Thanks for everything, this collection-ers! Keep up your fabulous creative work, whatever it may be.”

dis-place thiscollection in the Glue Factory a microfragment of the magic.

Remember Enid Blyton’s classic “The Magic Faraway tree” with Moon-Face,  Jo, Bessie, and Fanny and those loving descriptions of treacle toffee pies and treats? There was always a new world at the top of the tree and one always had to take a leap of faith and it almost always worth the trek.

Well since April 30th, the installation of thiscollection’s poems and films as a labyrinthine library has been the site of discussion, curiousity and wonderment.

This is the last week to see thiscollection’s dis-placement in the Glue Factory in Glasgow. As usual the installation was a result of the contributors of thiscollection who wanted to explore the space, we only realised what we had as each contributor decided how to present their work in the space.

Playful, thought-provoking and an expression of the processes that have gone on through developing thiscollection to date. The installation is a labyrinth put together with the help from thiscollection contributors Rocio Jungenfeld, David McAfee, Helen Askew, Laura Mossop & Blochestra member Ming Tse, Dominique De Groen, Glasgow Open School’s Liam and Nathan and Stefanie Tan.

The opening night was well attended  Zorras‘ rendition of Brian McCabe’s “It” was witty and engaging. Blochestra‘s adaptation of Kate Charles’ “Cables” was dark and soulful. Videos will be uploaded soon.

AP and Swedo stirred up a storm, invading and breaking all health & safety codes they could find, performing adaptations of the remaining poems and responding to the immense space as only the two adventurous word pirates could.

The special preview with Glasgow Open School attempted to discuss how the installation provoked ideas of democracy, learning and collective. Notes from the discussion are exhibited in the space, special thanks to Stevphen Shukaitis, Glasgow Open School who invited participants from Free Hetherington, Transmission, Ultra Red, Arika, So We Stand and its members to reflect on the work to begin considering what truly free education could and should look like.

The space has since welcomed over 30 new works by F/32 Fine art photography students and every nook and cranny holds an idea that can captivate the restless soul – so pick a quiet day or a bustling Friday to come see the magic, and how your poem or film is making an impression.

Thanks also to Open Source theatre‘s talented cast of Property & Theft who have braved the challenge to take their show to Glasgow May 6-8th. The interventions created some really golden moments from philosophical playfulness investigating our subjective measures of time, value and scarcity. The company of actors exchanged a ripped J.G Ballard book for 2 nanoseconds of bad dancing, reaffirmed with a hand made certificate, cosy cups of tea and conversations all to the soundtrack of reflective confessions about daily life in late capitalism.

We are consciously not putting any images up of the installation, and strongly encourage you to come and experience the work for yourself and make your own memories.

It is the last week of the showcase, the space is open til May 14th 12-6pm and is a 10 min walk from St Georges’ Cross SPT, 22 Farnell St Glasgow. Entry is Free.

Upcoming events:

May 13th Friday: Farewell Welfare

2-4pm

Hillhead Library Writers’ Group meets in the Glue Factory, sharing their protocols to run a self organised group and Cathy McCormack, activist and author of Wee Yellow Butterfly, shares her writing experience.

5-7pm

Free Screening of Cathy’s film: “At the Sharp end of the Knife” followed by a conversation with local communities and activists, folk keen on social justice and alternatives.

May 14th Saturday

5-630pm

Ginetta Correlli filmmaker of Sam Meekings’ “The Hanging Stanes” premieres “The Earl Sessions” a film about people struggling with perfection.

Followed by a closing party hosted by the good people of the Glue Factory.

All very welcome.

Ming Tse interprets Cathy McCormack's message

Friday the 13th and no spooks or serial killers, but a horror of a different kind and you are the heroes.

In face of a community eroded, a division between them and us, systematic stigmitisation and destabilisation of ties that bind, is an apolitcal united front possible?

This Friday the 13th we invite anyone who seeks an alternative to join us to face these demons to dig deep into the dusty forgotten toolkit to recover the power of our hands and feet to see what we can begin to do together.

5-7pm

Conversation with Cathy McCormack: What can be done? Free Film Screening

Activist Campaigner Cathy McCormack was forced to try and keep her three children alive on welfare away back in 1982 when Britain was changed from an industrial to a money market economy; she managed to inspire both rich and poor who supported her to go on a journey all over the world in search of the truth. Now Cathy has come home, and would love to share and engage in real conversations with people who are really interested in asking the same questions and exploring possible solutions. She shares her powerful film “At the Sharp End of the Knife” (52mins) about her visit to the townships of South Africa to meet fellow activists building the ‘New’ South Africa. She may be dodging the bullets, but finds energy and inspiration in the people she meets as she makes intriguing parallels with their lives, and her own back in Glasgow’s infamous Easterhouse housing project.

2-4pm

The screening is preceeded by a unique writer group that meets at 2pm, they share their co-operative practice that has developed over the past 18 months through self governance. Though they originally began in Hillhead Library, the negotiation of use in Public spaces may mean the group will have to migrate soon. Come discover your voice, be inspired perhaps to start your own group to share experiences. Cathy, author of Wee Yellow butterfly, shares her activist writing experience with the group as well.

Entry is Free, All Welcome. The venue can get drafty so please wrap warm and hope to see you there.

Special thanks to http://www.sowestand.com for their support in Glasgow