Category Archives: Journal

THE VIRGIN MARRIES DO MALIBU-“Town Slut’s Daughter” forthcoming novel excerpt

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Heading to the studio, they wound their way along the curves of Pacific Coast Highway past sunning sea lions, surfers bobbing at Point Dume, shithawks—seagulls—bombing the pier. Fiona watched Dennis ogling a busty brunette astride a Palomino stallion bareback, galloping through roiling surf.
“You can see the gray whales during migration.” He told them smugglers used to run liquor, opium and Chinese labor through the area.
The studio sat under the lee of the mountains, a veritable citadel by the sea. The massive foyer, a circle of mahogany pillars, opened teepee-like, rays of sun warming the slate floor.
“Hey Virgins, it’s your first time!” joked Dennis. “In a studio.”
Producer Dan Foley ambled in, gently gruff in a RECOVERING CATHOLIC t-shirt, black jeans, lizard skin cowboy boots. He sat, Virgins arranging their bums on a bank of white couches.
“Okay, so what kind of a production values are you going for?” he asked, voice like sandpaper.
“Don’t you know?” Jackie clung to her guitar case.
“It’s your music. You tell me.”
Fiona knew. “Raw. Gritty.”
“Right,” said Rita. “And we want it tight.”
“Monster bass!” said Jackie. “I play bass like no one, melodically, but with a lot of guts.”
“Describe your sound. As a band I mean.”
Gawd. I wish we had a manager. “We sound like the Virgin Marries. Our drummer is a walking, talking, sonic boom. Our bass player is an original. Dolores plays her Les Paul like a band saw. It rips! We write excellent songs. The singer can actually sing. I have great stage presence too. We all do. Right, girls?” They nodded. “We’re talented. Fucking brilliant in fact.”
Dan feigned ducking, as if to avoid a blow. “Alright then. We have a band in the studio. Who’s responsible for the arrangements?”
Dolores groaned. “Arranging is for wimps. We don’t arrange our stuff.”
Rita brandished her drumsticks. “Yes we do! We don’t want a ton of effects, Linn drums, or a million overdubs.”
“No cowbells!” said Fiona. “I hate fucking cowbells. Let the farmers have ‘em.”
“Or synthesizers,” said Dolores.
“I hate saxophones almost as much as I hate cowbells. And flutes! I hate the flute. It reminds me of beatniks. And hippies.”
Dan stood at the window looking out over the mist-shrouded hills. “Okay, so you know what you don’t want. I will venture to say I think you need a clean sound. Organic. Unrestrained. Untainted.”
“Organic?” bleated Jackie.
“Yeah. Organic, as in authentic. Virginal. Pure. Virgin Marries, doing what comes natural.”
“Er, yeah, okay.” Jackie feigned gagging. “But we are not hippies!”

Pink Sombreros

The cowboy led his horse to water
The horse refused to drink
The cowboy roped a steer one day
The steer was full of sawdust
The cowboy saw a sign in the sky
Revolving neon stars

Dudes in white fringes live here now
Dudes in pink sombreros are here to stay

The cows are lowing, the myth is dying
This land can break my heart
I have no place to go
Beyond my wild whisky dreams

“How about piano?”
“Gimme a break! Do you want us to sound like the Eagles?”
Rita glared at Fiona. “We couldn’t sound like the Eagles if we tried!”
“It is a ballad,” said Dan.
“Yeah, it’s a ballad,” said Fiona, “but it’s a cowboy song. I hear guitars.”
“Guitar yes, of course, but this song, a wonderful song by the way, should be played on acoustic. Just the rhythm parts.”
“Acoustic!” yelped Dolores.
“Yes. Acoustic will make it a classic. Showcase the vocals. A little piano in the bridge.” Dan leveled his eyes at Fiona. “And another thing. Hit songs do not have minor chords.”
Let’s hit you. Fiona sighed.
“I thought you were tired of Continue reading →

WARNINGS SHUNNED-latest poem

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WARNINGS SHUNNED

I was there

But can’t recall

A blur.

Here you are,

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Transparent, coy, unsullied.

Wet towers swaying,

I admire the dirty gulls.

You land

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On the top floor,

Move the mirror, ceiling,

Unhinge the doors.

Make no mistake.

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Moon resting on a spire,

Limbo persists,

Olive of catharsis

Suspended in a martini,

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Leaving me soaked,

Juiceless, waiting

In the terminal,

You above it all.

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ABBREVIATED GUTS-new poem

Journal, poems,

ABBREVIATED GUTS

Sun dogs melt,

Tuna tins expire,

Honey bees purge,

Headless sea lions wash up,

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Bloat. Drowning hydrangea.

Retreating squirrels.

Vacant towering fir

Hush the songbirds

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With gusts. Ravens squawk.

Telecom tricksters call

And call. And call.

Carbon copied dread

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Routed to the periphery,

Mt Galiano a distant lump,

Inviolate taint in the mainstream.

Traveling vast distances

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My blood will recede.

Limbs tread water,

Garnering muscle,

Mustering will.

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Cranking tunes, I summon

reason, a dollop of pomp,

A glut of valor.

Geronimo!

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CRYING FOR THE COURT JESTER

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“I never saw a man who looked with such a wistful eye upon that little tent of blue which prisoners call the sky.” -Oscar Wilde

My dear friend R has passed away. It came as a shock. I knew he was ill but it hadn’t occured to me that he might die. He was a force, such a strong, singular individual.  Complex, witty, acerbic—understanding the absurdity of our obsessions—R was our friendly neighborhood court jester. I mean that with the utmost respect. One must be brilliant in order to poke fun and criticize with impunity. A true iconoclast, holding several degrees, in physics and philosophy, he’d been a conscientious objector, imprisoned at McNeil Island Federal Penitentiary in Washington for three years. Brave and compassionate, he was a loving father and a volunteer who worked in malaria camps, for the World Health Organization and to end poverty. He wanted to save people.

Higher consciousness–of utmost importance–sustained him. He put a lot of faith in reason, in the mind, especially his own, berating himself for a dwindling vocabulary while accepting that non-verbal communication was most effective, even required in prison. I think he possessed that “wistful eye” before he was incarcerated. It was a most observant eye, an appreciative eye, a lover of beauty’s eye.

Art too was vital of course and he always encouraged me in mine, even had me convinced I was invincible.  And with nothing sacred, we shared many laughs. Reading R’s letters from prison, I am struck by the intensity of his desire, how, never feeling shame, R never forsakes it. He identifies with the tough, feral cats inhabiting the periphery, the gentle cows and the little birds fighting for survival more than his fellow inmates-draft dodgers, knowing salvation is not imminent for any of them.

R railed against darkness, ignorance, seeking the sun, light, while weathering the banal, the insidious, living his politics as much as anyone can in this brutal world.  Ironic that he wound up residing on an island after being trapped upon one but R knew the human spirit mattered as well, and more than the physical being. “I won’t be institutionalized.”

Driving into the Cove the other day, I kept glancing up at the North Shore mountaintops luminescent in the fading light, far away trees gleaming green as emeralds. So moving! To tears, and though aware that I was thinking of R, knew that I wept for us all. Still, I was happy, just to be here, to be alive, to see such incredible things, know such remarkable beings.

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The Un-American

Though he never left.

Fully himself. Always.

Flinty

As the black starlings fighting

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For food in the snow,

Abiding

Alongside the milk cows,

Returning to his cache of sky,

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Sun skin and kinetic clouds

Each night. Night a starlit carriage,

Buffer ‘tween long sighing,

Cold, lumpy porridge.

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He spurns downhill arrangements,

Damning sentences,

Fading graffito,

Blank gruff voices for the strumpet,

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For any, for all women,

Building a ladder to the window,

To a view of summer,

To life as he knows it.

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VORACIOUS to be included in FORCE FIELD-75 Women Poets of British Columbia anthology

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I am stoked to be one of the 75! Three of my poems, including Voracious, will be featured in the FORCE FIELD-75 Women Poets of British Columbia anthology, edited by Susan Musgrave, published by Mother Tongue and coming in April, 2013. From their press release: “Not since Dorothy Livesay’s ‘Women’s Eye, 12 B.C. Women Poets’- AIR Press, in 1974, and ‘D’Sonoqua, An Anthology of Women Poets of British Columbia’, edited by Ingrid Klassen-Intermedia Press in 1979, has there been an anthology of contemporary B.C. women poets.

Gathering is an art that women do well, and as Jean Mallinson stated in her introduction to D’Sonoqua, “Anthologies are a sign of vitality.” In FORCE FIELD we gather together seventy-five women poets who currently live and write in British Columbia so readers can more easily share, study and take pleasure in the range and vitality of women’s poetry today. It is an extensive and flourishing community that owes a debt to many early women poets, such as P.K. Page, Dorothy Livesay, Anne Marriot, Phyllis Webb, Rona Murray, Skyros Bruce, Gwladys V. Downes, Pat Lowther, Helene Rosenthal, Nellie McClung, and Elizabeth Gourlay. Women who forged the way for poetry in mid-century B.C., between working and mothering, struggling, transforming and creating. FORCE FIELD is a strong celebration of women’s voices, from emerging to established. FORCE FIELD is not a definitive, but a wellspring.

POETS included are; Maleea Acker, Joanne Arnott, Elizabeth Bachinsky, Jacqueline Baldwin, Michelle Barker, Rhonda Batchelor, Yvonne Blomer, Leanne Boschman, Fran Bourassa, Marilyn Bowering, Kate Braid, Connie Braun, Margo Button, Anne Cameron, Marlene Cookshaw, Judith Copithorne, Susan Cormier, Lorna Crozier, Jen Currin, Daniela Elza, Cathy Ford, Carla Funk, Maxine Gadd, Rhonda Ganz, Elee Kraljii Gardiner, Heidi Garnett, Lakshmi Gill, Kim Goldberg, Alisa Gordaneer, Heidi Greco, Karen Hofmann, Leah Horlick, Diana Hartog, Heather Haley, Joelene Heathcote, Diana Hayes, Aislinn Hunter, Elena E. Johnson, Eve Joseph, Donna Kane, Fiona Tinwei Lam, Zoe Landale, Larissa Lai, Evelyn Lau, Julia Leggett, Angela Long, Christine Lowther, Sandra Lynxleg, Rhona McAdam, Susan McCaslin, Hannah Main-van der Kamp, Daphne Marlatt, Jessica Michalofsky, Jane Munro, Catherine Owen, Shauna Paull, Miranda Pearson, Meredith Quartermain, Rebekah Rempel, Linda Rogers, Rachel Rose, Laisha Rosnau, Renée Sarojini Saklikar, Sandy Shreve, Melanie Siebert, Susan Stenson, Cathy Stonehouse, Sharon Thesen, Betsy Warland, Gillian Wigmore, Ursula Vaira, Rita Wong, Onjana Yawnghwe, Patricia Young, Jan Zwicky. Due: April 2013, 400 pages, ISBN 978-1-896949-25-3, $32.95 aprox, Mother Tongue Publishing, 290 Fulford-Ganges Rd, Salt Spring Island BC, V8K 2K6

VORACIOUS

A kiss.

Coral. Incandescent.

We wanted a kiss.

We wanted a moment

of, no one knows us.

In a hovel or the firs

we wanted a moment

of, no one watching.

We wanted a ride,

the roiling innards.

We wanted a night.

One night, to escape

the ether, the library,

all that shushing.

We wanted more

than one season

of abundance.

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He has entered text

red as a target,

invited a stoning,

but, we are very bear.

Mewling accomplice

pawing at the door,

I track charred meat

from bower to suite.

From a fly coastal trip

drenched in dark highway,

through a fuming winter

of snarling heat,

to blasted spring robins

and lilacs blaring perfume,

we have muzzled nothing,

growling in the gut wicked

as songs loud as our heads,

deafening aches

silent as screen voices

deep at night.

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Smoked out,

files burned,

anointed with ash,

we are fallout.

Ruthless particulars

roaming summer,

lapping up

bare mounds and berries,

moving and moved

by shattered outcrops,

words of praise,

generous mouths.

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OUR GRASSROOTS ARE SHOWING!-Visible Verse 2012 Festival post-mortem

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Earthquakes. Hurricanes. End times? Well, I’m high on a ridge, icing a sprained ankle, trying to focus on a post-mortem of this year’s Visible Verse Festival at Pacific Cinémathèque. Fortunately far-flung friends and relatives have all assured me they are safe, so I will proceed.

“The best year yet!” is what I was told repeatedly. Good turnout, a bit of press coverage, and wonderful new staff to work with, the festival is definitely entering a fresh and exciting phase. Era. Changing the date from November to October, immediately following the Vancouver International Film Festival helped raise our profile, and get more bums in the seats. I’ve never understood how filmmakers and cinephiles could not be curious about a fusion of verse and the moving image. Wouldn’t that work to inform one’s own work?

Though I had help from family members, the at-home transferring process was laborious. Brutal. I will have to figure out a way to expedite matters next year and I’m determined to find an intern. Or two. There has been much talk of producing a trailer for promotional purposes but so far, it’s all talk. *sigh*  Maybe next year. I’m glad the festival is growing but it’s becoming too much for one person, director. Our grass roots are showing.

I should refine my instructions after receiving all manner of file formats, many so huge they took far too long to download. Getting them onto disk was exacting and time consuming. I went to the theatre several times for run-throughs with a very capable and charming Aussie projectionist. With 38 selections, things can get a bit hairy, but everything looked and sounded fantastic. All the hard work was worth it.  I received many compliments on the programming as well, which was gratifying, as it’s the toughest task.

My dear friend and comrade-in-music Julie Vik put us up at the Holiday Inn across the street so I was able to go back and forth to attend to duties, despite several formidable distractions. At 3:30 I helped Alberta artist Phillip Jagger, AKA Satoreye Dreamtime, set up for his Reigning In Chaos: Words Into Video hands-on workshop, demonstrating the Kaos pad, iPod and video jamming software. And demonstrate he did! Wild man Phil performed his work, then shared much useful information about his process in an engaging manner, encouraging participants to come up and try out his gear.

I returned to the hotel to change, got back to the theatre lobby, nervous, happy to greet artists and poets as they arrived. It’s always very exciting to see and hear my selections on the big screen at last. We kicked off year 13 of the festival at 7 PM. With a full program, due to the record number of entries, I kept my introduction brief but took time to thank Jim Sinclair and the rest of the staff and volunteers at Pacific Cinémathèque, proclaiming our pride as North America’s sustaining venue for artistically significant videopoetry and poetry film.

We opened with the big, bombastic and sublimely funny stream of consciousness Continue reading →

Hollywood Halloween & Riot grrrls in love-excerpt from forthcoming novel, “The Town Slut’s Daughter”

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Viridis Somnio
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Pearl’s tiny apartment housed a rumpled hodge-podge: dusty houseplants, Tiki head vase, paper daisies, red gingham curtains, a muddle of books and a ceramic Portuguese rooster crowing from its perch atop the fridge. Pearl claimed kinship to Flannery O’ Connor and displayed a large collection of family photos.

The Lost Angels tribe, still decked out in costumes after a round of hullabaloos—Halloween far more significant a holiday in Hollywood than Christmas—had convened at her place for a nightcap, strains of Edith Piaf emanating from Pearl’s ghetto blaster. Aptly turned out as a princess, Pearl sat in a cloud of white satin and organza furbelows. Feline Fiona had painted her face with orange and black stripes, employing Evinrude as a model. Evelyn was decked out as the consummate witch, replete with long, wonky nose and hair protruding from a bulbous chin mole. She passed a spliff around, revelers talking, or yelling simultaneously. The landlady above banged on her floor, Pearl’s ceiling.

Evelyn cackled. “Sounds like she rides a mean broom.”

Pearl turned down the music. “You guys! You’re gonna get me evicted.”

“Yeah, shut-up!” commanded Evelyn. She picked up an LA Weekly, Prince on the cover, and placing it over her face like a mask, pretended to pick his nose with her index finger, which caused Pearl’s guests to roar with laughter. “Or you will be banished to the barrens of Minnesota to listen to Purple Rain for the rest of your natural lives!”

Bradley the human condom laughed. “Is that a hex?”

Vampire Kaye vainly tried to squelch giggles. Soon they were snapping Polaroids, Evelyn etching designs onto the film as it developed. Kaye slurped her gin and tonic.

“Pearl! You look like one of those toilet paper covers. You know, those dolls people stick on their toilet tanks. Old ladies knit them up.”

“Gee, thanks,” replied Pearl above peals of laughter.

“Hey, yeah!” said Bradley. “I know what you’re talking about. Is there a name for those things?”

Kaye laughed. “Yeah, piss elegance.”

Bradley fell to one knee at Pearl’s feet. “She looks like a beautiful bride.”

“She’s the wedding cake.” Evelyn dipped a finger into Pearl’s organza icing and popped into it her mouth.

Pearl fluffed her stacks of tulle and played I Put A Spell On You.

“I love Screamin’ Jay Hawkins!” Kaye flung her cape over her shoulder invoking the showman they’d seen in concert earlier in the evening.

“The flaming coffin!” cried Bradley. “I loved the flaming coffin!”

“Well, you are a flamer,” said Evelyn.

He ignored the remark. “And the bone in his nose!” Bradley sweated profusely despite discarding most of his plastic costume. “What a brilliant performer! I had no idea.”

“Alice Cooper stole his shtick if you ask me.” Kaye rose, stretched, and repositioned her fake fangs. “Hey, I’m getting out of here before sunrise.”

Fiona drained her drink. Pearl asked her to stay a little longer. One by one their coworkers filed out. Fiona Continue reading →

BUENOS AIRES OR BUST!

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I hope. I’ve been so swamped with the Visible Verse Festival I haven’t had much time to devote to fundraising. I’ve set up a Let’s Send Visible Verse to VideoBardo IndieGoGo campaign and raised a little dough but still have a long way to go. I hate to beg but please make a donation if you can.

A great professional opportunity awaits in Argentina! I have been invited to present a keynote address at the 4th VideoBardo Festival/Conference in Buenos Aires on the theme of “Videopoetry; New Perspectives on an Interdisciplinary Practice.” I will be presenting a paper called “Seeing The Voice: Beyond Media.” Material from the symposium will become part of a theoretical publication with academic and cultural purposes.

Since 1999, and as founder of the Vancouver Videopoem and Visible Verse Festivals, I have worked hard to provide a venue for the genre, contributed vigorously to the theoretical knowledge of the form and on Aug. 24th, will be honored for my work with a Pandora Literary Award. This is from their press release: “Stimulating and directing cultural fulmination is as natural to Haley as manipulating media. She is an innovative programmer with a history of staunch commitment to the arts community and cultural awareness. With a strongly held conviction that artists, especially poets, needed to be represented on the World Wide Web, she founded The Edgewise Café in 1994, one of Canada’s first electronic literary magazines, along with the non-profit arts organization, the Edgewise ElectroLit Centre. The EEC facilitated the Vancouver Videopoem Festival and Telepoetics, a videoconferenced reading series. The Edgewise ElectroLit Centre’s populist mandate and innovative programs effectively made poetry accessible to all and assisted Canadian artists in expanding both their audience and potential.”

VideoBardo is one of the few international events acknowledged for its comprehensive exploration and dissemination of information related to videopoetry. My participation in the festival/conference will contribute greatly to my development as both a curator and practicing artist.

It’s a wonderful opportunity in so many ways; I will meet like-minded artists with whom to exchange ideas and information, helping to raise the profile of a rather obscure but emerging art form, though it seems there are new videopoetry festivals and sites popping up all over the world every day. While at the festival/conference, I will be attending screenings, lectures, workshops, performances and will also participate in a poetry reading.

As much as I love what I do, I am a struggling artist and cultural work sadly doesn’t pay much. I need to raise the airfare—an expensive, long trip to Buenos Aires from Vancouver—a per diem, inner city travel and accommodations. Having never been to South America, I’m excited at the prospect of making new contacts and becoming immersed in the city’s culture, fortunate to have festival organizers as guides.

My work in the genre may be viewed here at Vimeo.

I just established my own company with my teenaged son as editor called Visible Verse Productions.

These links were provided by VideoBardo director Javier Robledo and contain pertinent information about the conference’s venues and scheduled events:

•27th Nov -> Palais de Glace
•28th Nov -> CCEBA (Centro Cultural de España en Buenos Aires plus Malba plus Biblioteca Nacional
•29th Nov -> CCEBA + Fundación Hampatu
•30 th Nov-> CCEBA + Biblioteca Nacional
1st Dec -> Microcine IMPA Oracio Campos
•2nd Dec -> Club Pejerrey de Quilmes
•Creo Producciones

GHOST IN MY MACHINE?

Journal, poems

Without planning to, I avoided much of the 9/11 memorial noise this year, preoccupied with Visible Verse Festival programming and various other duties and distractions, though perhaps it didn’t escape my subconscious. I found myself writing this flight themed poem on the infamous date.

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GHOST PILOT

Am I dead?
Yoke of command.
No turning back.
Navigating soup.
Procedures forsaken.

Rapid roll to the right
Betrays the horizon.
Wish I’d called in sick.
Voices swap, feel up
The ceiling, glow mortal.
No turbulence but peculiar

Buzzing in the cockpit. An
Undoing. Damn prop flies off!
Hole sliced into fuselage.
Explosive decompression.
Oxygen over. Fume of fog.

Monster called Hypoxia.
Am I dead?
I keep my head. Level my wings
Scroll hardened bush below.
Geriatric moose.
Anglers caught shooting.

Stronger than-ten-acres-of-garlic Electra
Crippled, stuck on full throttle.
Hips shaking, soon to rip apart.
High tail? Ditch?
Envision a long, northern runway.

Take the thing by the horns,
Steer, brute muscle mustered.
Stabilize this damn fossil.
Second pass. Last chance. Brace.
Touchdown. Kill the engines.
Committed. Hurtling.

No brakes, hydraulics. Adrenaline
Running, reduced to mere passenger.
Off the runway. Sweet
Burning. Foam the airplane.
We are not dead.

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ALL THINGS VIDEOPOETRY-‘TIS THE SEASON!

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Man, that was brutal! After much laborious and painstaking work previewing a record number of entries, I’ve completed this year’s Visible Verse Festival program. I always worry I won’t receive enough viable submissions. As I begin viewing must worry I have too many. As the program fills, I am forced to cut works I favour but that will not make the grade for various reasons. With only one night of screenings, length is always an issue and some poets don’t know when to quit. Quit while you’re ahead! They repeat themselves, each one of their brilliant ideas. Fortunately, the trend seems to be moving toward clarity and succinctness. My favorite videopoems are usually under five minutes. Short and sweet. Less is more.

Then I must cull a plethora of experimental films. I like experimental film but it ain’t what I’m looking for, part of the criteria. Read the submission guidelines. Please. Don’t waste your time, or mine. As for videopoetry, the level of sophistication has certainly risen, not surprisingly, considering the evolution of technology, the accessibility of poets to it. Heaps of nature themes. As J.D. Salinger said, “Poets are always taking the weather so personally.” And tons of death naturally. Are poets more aware of mortality? It’s always a challenge to find enough humorous pieces of high quality to mix in with all the angst, death and despair, no matter how beautiful the execution. I’ve noticed too that we poets favour time-lapse photography; rushing toward oblivion?

My process; first I catalogue, then select, time each piece and program, each step time intensive, exacting. Wish I could screen it all. As populist as I am, I often feel pressured to include things that are popular or hipster approved. I’m no arbiter but know what I like, understand my audience. Some work gives me goosebumps but I must bear in mind that the fiddle doesn’t affect everyone the way it affects me. I stage a mock screening in my office, windows draped. I am proud of my artists, selections. It’s not all about production values. I can be be a sucker for eye candy, certainly, and slick production values might blow me away but as I said at the Pandora Awards Gala, it all comes down to voice. Claiming. Cultivating. Projecting. Voice in all its guises. As gratifying as it is to provide a venue, facilitate other artists, I enjoy the great privilege of working with vital visionaries, authentic and powerful voices.

Ironically, I am finishing up this labour of love on Labour Day.

So, here it be. Kudos and congratulations! You may find more information about tickets and such at Pacific Cinematheque’s website.

VISIBLE VERSE 2012 PROGRAM

–Profile 2012 R.W. Perkins                        Fort Collins, CO

– The Lammas Hireling 2010  Paul Casey. Ian Duhig poem             Cork, Ireland

–Whoever You Are 2012            Machine Libertine            St. Petersburg, Russia

–Song for Elliott Jacques 2012            Tommy Becker            San Francisco, CA

– Portrait of a Listener 2012  Sonority Turner  London, UK

–Sky Canoe 2012                  Al Rempel, Phil Morrison, Steph St. Laurent, Jeremy Stewart    Prince George, BC

–Road Not Taken     2012 Swoon Bildo/Robert Frost poem             Mechelen, Belgium

– Inverting the Deer 2012            Gary Barwin                        Hamiliton, Ontario           

– Inner Shrine 2011             Jing Zhou                        Ocean, NJ

–Cioran     2012       Swoon Bildos              Mechelen, Belgium

– Right Side Up 2012   Ian Keteku            Toronto, ON

– Song for Disobedient Youth 2011   Tommy Becker   San Francisco, CA

– Mr. Lucky’s Jackpot 2012            Martha Mccollough                        Boston, MA

–Speleology 2011   Duriel Harris/Scott Rankin            Chicago, IL

–Dear Pluto 2012    Joanna Priestly/Taylor Mali                        Portland, OR

INTERMISSION

-Just Don’t Not Do it 2011             Machine Libertine/John Giorno             St. Petersburg, Russia

– Flowers 2011        Tim Cumming                                    Sydney, Australia           

– The Junicho Video Renku Series-#2             2011 Eve Luckring             San Francisco, CA

– Make Me A Doorway 2012                        Jesse Russell Brooks            Los Angeles, CA

– First Death in Nova Scotia 2012             John D. Scott/Elizabeth Bishop            Ithaca, NY

– Norandgsdalen              2010 Kristian Pedersen            Oslo, Norway

–Whore In The Eddy 2012      Visible Verse Productions            Vancouver, BC

– Saltwater 2011                        Glenn-emlyn Richards            Normandy, France

–Viva Zombatista    2010 Kristian Pedersen            Oslo, Norway

–Everywhere and Inside    2008 Mia Degner                         Copenhagen, Denmark

–Bonfire 2011    Daniel Mark Patterson            Vancouver, BC

Everybody 2012      Dennis E. Bolen            Vancouver, BC

–Pez Eduardo Romaguera,  Spain- selection from VideoBardo Festival, Buenos Aires, Argentina

– little black strap 2012     Pam Bentley/George Bowering            Vancouver, BC

-Stazen Of The Lost 2012             Phillip A Jagger                        Edmonton, AB

–Omelet 2012       Fiona Tinwei Lam            Vancouver, BC

–Seldomly Transgender Anymore     2011 Josie Boyce (nee Joe Boyce Burgess)            Vancouver, BC

–Terrorsounds Jakob Kirchheim & Teresa Delgado-Germany, selection from VideoBardo Festival, Buenos Aires, Argentina

–Evolution of Love 2012            Jeremy Loveday/Elliott Hearte                        Victoria, BC

–Colours of Bullshit 2000          Robert Priest                        Toronto, ON

– Chanson d’automme 2011      Rachel Laine/ Paul Verlaine poem            Vancouver, BC           

– My Daddy Loves Me 2012             Habib Asfar/Julien Phillipe            Islamabad, Pakistan

– Odds and Ends 2012            Swoon Bildos               Mechelen, Belgium

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