Water which is sensitive to fear. Sneezing wind. Thoughts, feelings and memories are told. A brief insight into the nature of humans and their need to be at peace with themselves. A poetic short film consisting of associations. Telling a story about the agonizing desire to appropriate the world.

Not clinging to the flow of life, the inaction of billowing, the glow fireflies passing by, seeing, not watching, not gripping although there is the urge, always, possessive, no mind, the answer; it all comes slow, in a spin or a million forgetful, forgive-full and there it is, the eye, the I, penetrating air through the grip the glow, see-true our home.

An exquisite corpse video to Jourdan Imani Keith’s poem The Sound of Seeds, compiled by artist Rachael Lang with content generated by the 2019 Winter Poetry Festival video poetry workshop participants Jillian Britton, Candy Cruz, Anthony Glover, George Likely, M. L. Lyons, Greg Mackey, Ara Oshin, Tiffany Overby, Finn Oviatt, Rana San, and Chelsea Werner-Jatzke.

Short, experimental loop featuring a troubadour poem from the 13th century.

Dark Myriad 7 (Тьма Тем 7) is a videopoem that aims to create a new type of poetic language, integrating spoken word with moving image to develop an non-illustrative style. By morphing faces and colours together with the use of dynamic lighting, this composition aims to weave together the fluidity of light and language. The videopoem presented here is part of an album called Dark Myriad (Тьма Тем). The project aims to integrate the audio-visual elements into inseparable rhythmic and rhyming compositions. This approach strives to reach a universal type of poem, where the natural language of the spoken word is only a part of the composition and the knowledge of this language does not limit the understanding and appreciation of the piece. The project builds on Eta Dahlia’s previous videopoem album Little Flowers (Цветочки) and develops the visual aspects and techniques of creating unified videopoetic experience. The title Dark Myriad comes from an ancient Slavonic numbering system and signifies the biggest possible number, which is linguistically associated with darkness and its perceived infinity. Note that the videopoem is originally in Russian.

Sue Sada Was Here is an experimental film that turns written texts Muriel Kitagawa (1912–1974) into scores of physical movement, which are then enacted in the historic Roedde House. Kitagawa’s editorial writing and unpublished manuscripts speak to the pre- and post-war periods in Vancouver, particularly the injustices of the Canadian government’s policies towards Japanese and Japanese Canadians. The performers embody Sue Sada, one of Kitagawa’s pen names and use books as objects of print history that can omit histories of violence and colonialism. This film was originally commissioned for Memories of the Future III.