396:, the award-winning documentary on belonging, acceptance and loss of culture. This powerful one-hour documentary witnesses and celebrates young Kwakwaka'wakw artist John Walkus Green's journey home to the village he was forcefully adopted out of as a child. This story is also an investigation into the BC Provincial Government's Adoption policies which had tragic consequences for the children it was meant to protect. The film received a humanitarian award from the American Indian Film Festival in San Francisco. Stephen Hume of the Vancouver Sun described the film as “one of the most disturbing, illuminating and deeply troubling documentaries I’ve seen in years.” In 2003, a fire destroyed the AM space and production ceased. To date, the company continues to distribute the hundreds of videos in its catalogue of educational videos in the fields of mining, remote sensing, GIS, as well as the performance art videos produced under the title of Art Montreal.
653:," moved me especially. Like the essays, they raise questions about the nature and function of poetry and poets. Konyves' first "tribe" was the other Véhicule poets. But beyond this kind of collaboration, he is after larger collaborations: between sight and sound, form and content, environment and art, poetry and technology, conception and performance, the audience and the poet. Removing words from a linear context is part of the poet's war of imagination against rationalism: war against any hard line, political or artistic, which is exclusive or divisive.
354:, he writes, "Whereas I consider a line the unit of poem-making, like bricklaying, in video we substitute visual lines for printed lines and proceed to "layer" a poem: spoken words (the poet-performer); words heard (taped, dubbed); and seen (signs, subtitles, printed, painted). Naturally, a poem written with these three forms of word-smithing is never 'itself' until it is meshed with visual imagery... the end-product demonstrates a "judicious" mix of the two." (p.83)
259:, the commission relented and agreed to post 30% of the English poems, reflecting the Anglo population of Montreal. The project, the first of its kind in Canada, was launched on Thursday, December 13, 1979, with all major media present in a bus provided by the MUCTC in front of the old bus terminal on St. Antoine St. The consultant for the English poems was Louis Dudek; the consultant for the French poems was Claude Beausoleil.
25:
667:, Tom Konyves explores boundaries — between poetry and prose, and between art and life. Like American poet Frank O'Hara, Konyves views the poem as a "temporary object," which must be "true/ to the moment." The economy of language here, the proselike cadence, the focus on the "real" world, and on human mortality, are all features of Konyves' writing in this volume.
368:. In the manifesto, he claimed it was necessitated by "the underlying dichotomy (that) opposes videopoetry – I envision the measured integration of narrative, non-narrative and anti-narrative juxtapositions of text, image and sound as resulting in a poetic experience – to works which publish poems (voiced or displayed on-screen) in video format." (p. 3)
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represent the work of a skilled poet who is finally coming into his own. The diversity of this material stands out even to the casual reader. Konyves displays an extraordinary sensitivity to rhythm... Allusions to poets... are woven into meditations that are both fresh and vulnerable. In short, these
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Konyves relays an authentic voice in well-carpentered passages... short, from the heart epiphanies one finds marked with peculiarly urban tenderness; back alley kind of poems that cue on the localized imagery of a
Montreal lane, a cemetery, a lover's bed. Konyves has a precise eye for detail and he
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The poems in Ex
Perimeter are sparse, clear, direct and full of delicate and precise insight. Whenever I read them I say to myself, "Yes, that is it, exactly." In this life of mine which is too often out of control and beyond reflection, these poems bring me to a sudden stop. "Pay attention," they
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is a collection of the scripts of his video and performance poems, along with introductory essays and footnotes to each of them, accounts of his collaborations with The Véhicule Poets, Konyves' concrete poems, and some short essays on poetry. The introductions serve to document the extraordinarily
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In addition, Konyves distinguishes between the various uses of text in a videopoem. "Text is typically written for the videopoem, not for print; in some cases it is found – in books or on signs – and repurposed for the videopoem. Used in a videopoem, a previously composed/published poem represents
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Konyves... was always the one most involved in the history and course of the central
European avant garde. Tom Konyves, for example, became fascinated with the possibilities of videotape when that medium was new. He made something he called "videopoetry," and is now a west coast video-arts doyen.
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Of its constraints, Konyves writes, "Text, displayed on-screen or voiced, is an essential element of the videopoem. A work which does not contain visible or audible text could be described as poetic, as an art film or video art, but not as a videopoem. Imagery in a videopoem – including on-screen
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performed poems by the poets, which was followed by videopoems by Tom
Konyves and readings by the poets. Artie Gold, one of the original group, was too ill to attend; his poems were read by Ruth Taylor. Within 2 years, Ruth died, followed a year later, on Valentine's Day, by Artie Gold himself.
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The manifesto addresses 3 aspects of videopoetry: its definition, its constraints and its categories. Videopoetry is defined 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
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What is on the boards (and the buses) is no less than "a whole culture busting loose," a catharsis of values, an aesthetic revolution. Konyves, the ringleader, is the most avant-gardist, Dadaist, surrealist, multi-media-prone. You must put your reason and sanity aside to read him.
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The most experimental by far is
Konyves. He's taken the poem off the page and turned it into visual performance. He has, in effect, made the "writing" of poetry into a creative act. He is also the most articulate defender of this type of poetry and his
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in 1969, worked as a teacher, editor and journalist until 1977, when he became a poet-member of
Vehicule Art Gallery, Montreal's first artist-run non-profit centre. As a poet at Vehicule Art, he collaborated with Endre Farkas, Ken Norris,
360:
In 2008, to develop a course in visual poetry at the
University of the Fraser Valley, Konyves began researching videopoetry by visiting archives in Vancouver, San Francisco, Berlin, Budapest, Buenos Aires, Toronto, New York and Chicago.
289:, a poem written by Tom Konyves, performed by Konyves, Ken Norris, Endre Farkas, Stephen Morrissey, John McAuley and Opal L. Nations, accompanied by Robert Van Wyck on flute, Tom Ezzy on bongo drum, and 16-year-old dancer, Vivian Katz.
645:
energetic literary activity in
Montreal over the past decade, and specifically Konyves' movement towards video poetry. Reflecting political as well as aesthetic interests, the scripts are witty and lively, and two of them, "
391:
Arriving in
Vancouver in 1983, Tom Konyves established A M Productions, a video production facility. From 1983 to 2003, the company produced numerous educational, industrial, corporate and music videos, including
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final fifty pages come close fulfilling
Konyves’ own declared desire to create “a temporary object / through which a thought flows / searching for a vantage point / to view the human soul.”
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only one element of the resulting poem, the text element. The “poetry” in videopoetry is the result of the judicious juxtaposition of text with image and sound." (p.8)
251:; fifty copies of 20 poems, 10 by Anglophone Quebec poets, 10 by Francophone Quebec poets, on 11 “x 28” styrene panels, were to be posted on 1000 buses. At first, the
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In 1982, Tom Konyves coined the term 'videopoetry' in "The Insecurity of Art", a book of essays on poetics published by Véhicule Press. In the essay titled
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Based on a work's use of text, he describes 5 categories of videopoetry: Kinetic Text, Visual Text, Sound Text, Performance and Cin(e)poetry. (p. 6)
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Konyves is witty, terse and cynical. He chose his surrealist roots, and they, along with his years as a video artist, have led him away from exposition.
274:, performed with black electric tape on a white wall, accompanied by a recording of the day's radio programming, edited by manually changing stations.
142:(born July 13, 1947) is a Canadian poet, video producer, educator and a pioneer in the field of videopoetry. He teaches creative visual writing at the
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Fascinating, encouraging, delightful. Here is honesty, genuineness of mind and of poetic delivery. Several of these poems are little masterpieces.
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Tom Konyves’ strong experimental impulses and wide range of technical skills produce some remarkably successful poems... both his selections from
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strives for meaning in his observations. There is contentment with the ordinary, tribute to birth and death, to change of landscape.
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He published 2 issues of a poetry magazine, Hh (invented acronym for the word "hobbyhorse", considered the dictionary definition of
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In 1979, with a grant from the Montreal Arts Council, he produced the controversial public poetry project, Poetry On The Buses,
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255:(Montreal Urban Community Transport Commission) agreed only to post the French poems. Following a protest by the poets, led by
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He initiated collaborative performances, first with Ken Norris on the video See/Saw (including Konyves' 7-year-old son,
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296:, a series of 26 half-hour TV programs for Channel 9, Cable TV. The following year, assisted by a grant from The
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To promote the poetry reading series he was organizing at Vehicule Art, he approached the daily newspaper, The
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640:
Tom Konyves acknowledges both the surrealists and the dadaists as major influences on his performance poetry.
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178:, where he resides with his wife, Marlene, sons Alexander, Gabriel and daughter, Hannah. He graduated from
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968:"Signature Editions | Books | Vehicule Days: An Unorthodox History of Montréal's Vehicule Poets"
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is crammed with explanatory notes, reasons why he does what he does and essays that anticipate criticism.
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Konyves’ poems are beyond poems, mouthfuls with a surprising aftertaste, and difficult to explain.
655:- ANN MANDEL, Books In Review, Canadian Literature, Issue 101, summer 1984 (p. 149-153) most
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669:- SUSAN SCHENK – Unmapped Territory, Journal of Canadian Literature, Issue #130 (Autumn 1991)
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Vehicule Days: An Unorthodox History of Montréal's Vehicule Poets, NuAge Editions 1993 (p.90)
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187:, Stephen Morrissey, Claudia Lapp and John McAuley to form a group of 7 who became known as
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Vehicule Days: An Unorthodox History of Montréal's Vehicule Poets, NuAge Editions (1993)
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266:'s poem, In A Station Of The Metro at the Berri Metro Station, bowing with the last word,
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elements, it produces in the viewer the realization of a poetic experience." (p. 4)
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journalist Jacques Marchand, Konyves co-hosted a series of 11 French-language programs,
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Vehicule Days: An Unorthodox History of Montréal's Vehicule Poets, NuAge Editions 1993
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Once They Have Tasted Freedom, Not Before Nor After (with Linda Lee Tracy), Quebecause
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337:, an evening celebrating the 7 Montreal poets at Place des Arts. The theatre group
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Having moved from 61 to 307 St. Catherine Street, Vehicule Art presented its first
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807:"Vehicule Days: Unorthodox History of Montreal's Vehicule Poets, An | Indigo"
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721:- George Bowering, Introduction, The Vehicule Poets_Now, The Muses Company, 2004
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Cable TV tunes in, Andrew Culver, The Montreal Star June 8, 1979Entertainments
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On April 8, 2004, 25 years after the Maker Press publication of the anthology
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Poetry in Performance, The Muses’ Company, 1982 SBN 9780919754027 (p.123)
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322:, broadcast on CBC once a week through November and December 1982.
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193:
Vehicule Days: An Unorthodox History of Montréal's Vehicule Poets
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489:"Perfect Answers to Silent Questions", Ekstasis Editions, 2015.
237:, which he wrote until the demise of The Star, 13 months later.
203:
Between 1977 and 1983, Konyves produced his first videopoems –
63:
from the article and its talk page, especially if potentially
18:
1001:
Blessed Harbours: An Anthology of Hungarian-Canadian Authors
1207:"12 or 20 questions: 12 or 20 questions: With Tom Konyves"
357:
Between 1978 and 2010, he produced 17 works in the genre.
376:
text – does not illustrate the voiced text." (p. 4)
912:"亚洲精品高清国产一线久久,国产亚洲午夜高清国产拍精品,亚洲第一区欧美国产综合86,国产精品原创巨作Av无遮挡"
233:; subsequently, he was hired to write a monthly column,
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Poetry in Performance, The Muses’ Company, 1982 (p.163)
637:- MICHAEL MIROLLA, The Montreal Gazette, Dec. 24, 1982
1104:
Poetry in Performance, The Muses’ Company, 1982 (p.18)
244:), that included some visual poems and text collages.
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Academic staff of the University of the Fraser Valley
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Poetry in Performance, The Muses’ Company, 1982 (p.1)
464:
Sleepwalking Among The Camels: New and Selected Poems
191:. Their exploits were documented in the 1993 book,
1168:"The Montreal Gazette - Google News Archive Search"
1052:"The Montreal Gazette - Google News Archive Search"
698:(1988) and his most recent material in the section
622:- LOUIS DUDEK, The Montreal Gazette, Feb. 16, 1980
680:- TREVOR CAROLAN, The Vancouver Sun, May 13, 1989
684:say, "to the moment, to experience, to what is."
262:Influenced by performance art, Konyves performed
300:, he produced 6 one-hour documentary programs,
8:
513:Mummypoem (Sympathies of War - A Postscript)
320:Les Poètes Quebecois de la Langue Anglaise
56:about living persons that is unsourced or
209:Mummypoem, Yellow Light Blues, No Parking
127:Learn how and when to remove this message
1339:The Insecurity of art: Essays on poetics
1201:
1199:
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414:(with Ken Norris), Asylum Press, 1978.
311:, curated by Tom Konyves in June, 1980.
283:Drummer Boy Raga: Red Light, Green Light
1192:Item P027/05b195ii Concordia University
729:
1451:: CS1 maint: archived copy as title (
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1337:Norris, Ken; Toorn, Peter Van (1982).
1245:: CS1 maint: archived copy as title (
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869:
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7:
1324:"Canada.Com | Homepage | Canada.Com"
998:Miska, John P.; Miska, John (2002).
551:(1982) 3 Min. (with Linda Lee Tracy)
331:Musée d'art contemporain de Montréal
174:from 1957 to 1983, when he moved to
1523:20th-century Canadian male writers
222:In 1978, Véhicule Press published
14:
587:(2004) (with Alex Konyves) 2 Min.
543:And Once They Have Tasted Freedom
477:OOSOOM (Out of Sight Out of Mind)
690:On Sleepwalking Among The Camels
394:To Return: The John Walkus Story
23:
1498:Hungarian expatriates in Canada
928:Mary Melfi: Essays on Her Works
364:On Sept. 6, 2011, he published
144:University of the Fraser Valley
270:; other performances included
1:
1518:Hungarian emigrants to Canada
705:- JOURNAL OF CANADIAN POETRY
585:A Poem for the Rivers Project
440:, The Muses’ Company, 1982.
309:Exhibition of Concrete Poetry
466:, The Muses’ Company, 1998.
226:, his first book of poetry.
34:biography of a living person
1508:20th-century Canadian poets
1503:Concordia University alumni
1395:"To Return - Press Release"
61:must be removed immediately
1544:
1363:"Videopoetry: A Manifesto"
663:As his title suggests, in
272:Motions and Marie The Poem
925:Anselmi, William (2007).
714:On The Vehicule Poets_Now
519:See/Saw (with Ken Norris)
427:, Véhicule Press, 1978.
302:Performance Art in Quebec
626:On Poetry In Performance
597:All This Day Is Good For
453:, Caitlin Press, 1988.
366:Videopoetry: A Manifesto
195:, edited by Ken Norris.
832:"Table Saw Safety Tips"
561:Thus Spoke Tzarathustra
217:Thus Spoke Tzarathustra
48:Please help by adding
1493:Writers from Budapest
1466:Jewish Public Library
1066:"Rob mclennan's blog"
1004:. Guernica Editions.
931:. Guernica Editions.
763:"Biographies - ditch"
742:www.amproductions.com
642:Poetry in Performance
633:Poetry in Performance
615:On The Vehicule Poets
438:Poetry in Performance
292:In 1979, he produced
170:of 1956. He lived in
1365:. September 4, 2011.
1287:"The Vehicule Poets"
1261:"The Vehicule Poets"
1209:. November 15, 2007.
1026:"The Vehicule Poets"
769:on December 10, 2010
549:Not Before Nor After
408:, Asylum Press, 1974
180:Concordia University
168:Hungarian Revolution
54:Contentious material
1513:Canadian male poets
1293:on October 12, 2010
1267:on October 12, 2010
249:Poésie en Mouvement
1413:2005-01-09 at the
1341:. Véhicule Press.
1312:Ruth Taylor (poet)
1032:on August 25, 2011
610:Critical reception
537:Yellow Light Blues
479:, Bookthug, 2007.
327:The Vehicule Poets
199:The Vehicule Years
189:The Vehicule Poets
162:, he emigrated to
1381:amproductions.com
1154:"A M Productions"
876:amproductions.com
858:"A M Productions"
838:on April 17, 2012
793:vehiculepoets.com
647:Sympathies of War
507:Sympathies of War
495:978-1-77171-107-4
485:978-1-897388-03-7
433:978-0-919890-15-2
205:Sympathies of War
160:Budapest, Hungary
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686:- LIONEL KEARNS
335:Cabaret Vehicule
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710:- rob mclennan
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659:On Ex Perimeter
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339:Step dans Fuego
281:), followed by
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140:Tom Konyves
1477:Categories
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573:Percussion
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224:No Parking
185:Artie Gold
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150:Biography
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