Lucinda Furlong had two articles published in Afterimage in 1983. "Notes Toward a History of Image-Processed Video." Includes analysis / writing on Siegel, Beck, Rutt, Sandin, Etras. An editors note promised, "Future articles will discuss the work of Ralph Hocking and Sherry Miller at ETC, Paik, Gorewitz, Barbara Buckner, Sara Hornbacher, Peer Bode, and others." Those articles did not come to be, alas.
In 1985, her article "Tracking Video Art: Image-Processing as a Genre" continued the line of inquiry. Ralph Hocking has a number of writings through ETC and elsewhere that would be of interest. Peer would have me add that he studied at Binghamton in a moment where the film and video artists were in the same department, which I know was and is very important to him. There's certainly a longer history in the field beyond/around the figures that have been mentioned. Gerry O'Grady a key figure in this history, as well. On Fri, Aug 15, 2025 at 1:01 PM <[email protected]> wrote: > Send Frameworks mailing list submissions to > [email protected] > > To subscribe or unsubscribe via the World Wide Web, visit > > http://film-gallery.org/mailman/listinfo/frameworks_film-gallery.org > or, via email, send a message with subject or body 'help' to > [email protected] > > You can reach the person managing the list at > [email protected] > > When replying, please edit your Subject line so it is more specific > than "Re: Contents of Frameworks digest..." > Today's Topics: > > 1. Re: field-level processing in video (jared ashburn) > 2. Re: field-level processing in video (Federico Windhausen) > 3. Re: field-level processing in video (jared ashburn) > 4. Bruce McClure contact (Adam Hyman) > 5. Re: Bruce McClure contact (Adam Hyman) > 6. Looking for a quiet space to edit in NYC (ev petrol) > > > > ---------- Forwarded message ---------- > From: jared ashburn <[email protected]> > To: Experimental Film Discussion List <[email protected]> > Cc: > Bcc: > Date: Thu, 14 Aug 2025 12:05:03 -0500 > Subject: Re: [Frameworks] field-level processing in video > Dear Steve and Adam, > > The potential of the "early days" of digital video is starting to look > like a promising area of research. I'm not sure if I would have said that > back then, as I was also somewhat skeptical of film artists making a late > turn to video. But, look at what Gehr, Snow, Jacobs, and others have done! > I would assume that many avant-garde filmmakers experimented with analog > video, even if we never saw the results. The fact that they didn't pursue > it would have to be based on the particularities of their practice. For > instance, I imagine that Jacobs had a specific rationale for waiting as > long as he did, and that it involved much more than just the low resolution > of even broadcast video compared to film. In some ways, I think film > artists who skipped analog video somehow made the transition to digital > more effectively than artists who had been working in analog. I say that as > a die-hard Vasulka enthusiast, but seen from now, I think film artists (or > maybe just the ones I am particularly interested in) may have thought more > critically about the affordances of digital (except Steina and Woody!). I'm > not sure; I am just starting to think about this time period in this way. > Anyways, thank you all for your input. -JA > > On Wed, Aug 13, 2025 at 6:25 PM Adam Hyman <[email protected]> wrote: > >> Hi all, >> >> I just looked up when we tried to screen it at Los Angeles Filmforum. It >> was Sunday, March 13, 2005. The program was Crystal Palace (2002), The >> Astronomer's Dream (2004), and Precarious Garden (2004). I made a note >> that Crystal Palace was cancelled due to projection shortcomings. >> >> It was at the Spielberg Theater at the Egyptian, a room that no longer >> exists. It had a progressive projector (not a CRT) but he needed it to be >> interlaced to work. >> >> >> >> Best regards, >> >> Adam >> >> >> >> >> >> ----- >> >> Adam Hyman >> >> Executive Director >> >> Los Angeles Filmforum >> >> >> >> >> >> *From: *Frameworks <[email protected]> on behalf of >> Steve Polta <[email protected]> >> *Reply-To: *Experimental Film Discussion List < >> [email protected]> >> *Date: *Wednesday, August 13, 2025 at 2:07 PM >> *To: *Experimental Film Discussion List <[email protected]> >> *Subject: *Re: [Frameworks] field-level processing in video >> >> >> >> Dear Jared, >> >> >> >> I'm pretty sure that I was at the same screening of *Crystal Palace *that >> Mark Toscano references which, if I'm not mistaken, was at Pacific Film >> Archive in Berkeley CA on October 7, 2003 >> <https://bampfa.org/event/cinema-ernie-gehr-program-1>. At this >> screening the work was shown as projected video and was definitely not on a >> CRT. Ernie Gehr was there in person and, if I recall correctly, was >> frustrated that they could not get the projection system to reproduce what >> he'd seen in his piece. This sort of thing—artists being unable to >> replicate effects they'd worked with on one video system on another—were >> not uncommon in these "early days" of projected digital video. If Gehr has >> another piece that attempted this, I don't know what it is. >> >> >> >> Steve Polta >> >> >> >> On Wed, Aug 13, 2025 at 11:16 AM jared ashburn <[email protected]> >> wrote: >> >> Mark, Adam, Michael, and Robert, >> >> >> >> I saw "Crystal Palace" at some point, but couldn't remember the title. It >> was that one that provoked my question, so thank you for reminding me. I'm >> seeing it described as "An ode to digital interlace, which is to video what >> intervals between frames are to film…". Do you happen to remember if it was >> displayed on a CRT? I'm trying to figure out the title of the other one you >> mentioned, and I do wonder if (and how) he managed to resolve the transfer >> to a progressive format. I stumbled upon the same kind of field flicker in >> FCP at about the same time he made "Crystal Palace" and was only able to >> capture the output through rescan. I think a VTR (analog without an >> internal TBC, maybe?) and a display that doesn't deinterlace by default >> might work to preserve the field flicker, but I'm not certain. I also don't >> know if that could then be transferred to a digital format (tape or file) >> without it being deinterlaced at some point. Even if it were, as Adam >> points out, most all digital projectors (and LCDs) would deinterlace and >> apply frame interpolation, which would kill the flicker. To Robert's point, >> perhaps field-based effects are best left to the analog domain. Still, even >> there, it required a special instrument (Rutt/Etra or the Vasulkas Digital >> Image Articulator —a hybrid device). Michael, I am unfamiliar with Yalkut's >> work that you mentioned. I'd be interested to know, and VERY curious to >> know what instruments he used. Thank you all for your input. I appreciate >> it. -Jared >> >> >> >> On Sun, Aug 10, 2025 at 2:45 PM Robert Harris <[email protected]> >> wrote: >> >> The person who most formally, thoroughly, and passionately immersed >> themself in the video field, in the formative instant of image generation, >> was video maker/filmmaker Al Robbins, working with portapak, reel to reel >> video in 1973 and after. >> Given the fragile, uncopyable nature of his tapes, and given the >> generally galleryizing world of video in the mid 70’s, Al’s work was >> tragically under appreciated. >> Rather than look to filmmakers who had no interest in analog video, you >> should pursue your Vasulka thread, and look to the individuals associated >> with the Experimental Television Center in Owego, NY. Founder Ralph Hocking >> is deceased, his wife and collaborator Sherry Hocking Miller is still >> around. Seek out Peer Bode, Hank Rudolph, David Jones, Neil Zussman. >> But for the original artist with absolute investment in the glitch and >> all its implications, Al Robbins. >> >> >> >> Robert Harris, Professor >> Fitchburg State University >> >> >> >> > On Aug 9, 2025, at 12:13 AM, jared ashburn <[email protected]> >> wrote: >> > >> > Does anyone know if Ken Jacobs, Ernie Gehr, or any other artists >> besides Woody and Steina Vasulka have worked at the level of the video >> field? I’m particularly interested in practices that manipulate fields >> (1/60 second in NTSC), whether for timing-based image alteration or for >> preserving field-specific flicker phenomena. Thanks! >> > -- >> > Frameworks mailing list >> > [email protected] >> > >> https://mail.film-gallery.org/mailman/listinfo/frameworks_film-gallery.org >> >> -- >> Frameworks mailing list >> [email protected] >> https://mail.film-gallery.org/mailman/listinfo/frameworks_film-gallery.org >> >> -- >> Frameworks mailing list >> [email protected] >> https://mail.film-gallery.org/mailman/listinfo/frameworks_film-gallery.org >> >> -- Frameworks mailing list [email protected] >> https://mail.film-gallery.org/mailman/listinfo/frameworks_film-gallery.org >> -- >> Frameworks mailing list >> [email protected] >> https://mail.film-gallery.org/mailman/listinfo/frameworks_film-gallery.org >> > > > > ---------- Forwarded message ---------- > From: Federico Windhausen <[email protected]> > To: [email protected] > Cc: > Bcc: > Date: Thu, 14 Aug 2025 15:03:57 -0300 > Subject: Re: [Frameworks] field-level processing in video > Hello Jared & co., > Apologies if this message is out of sync with the current thread about > this topic. I only receive the delayed, digest version of Frameworks. > I saw Crystal Palace at the Walter Reade cinema in New York in 2002. > Because the venue's video projector was not progressive-scan, the video's > flicker was quite visible. In 2011, I saw the video again, interlaced > flicker intact, on an old CRT monitor in Ernie Gehr's home studio in > Brooklyn. > That year, I wrote about the video for an article (to my chagrin, in the > print version, an editorial error led to the still images of the video's > flicker being omitted). Not long afterwards, Ernie debuted a new version, > once again at the Walter Reade theater. He had attempted to use alternative > digital effects to compensate for the lack of the flicker "artifacting" on > now-ubiquitous progressive-scan video projectors. (I recall a number of > freeze frames that lacked flicker and thus made the video seem more static > than it had previously been.) He wasn't able to achieve anything close to > what he'd done in 2002. We discussed this after the screening. He was > pretty unhappy with the results, and I shared his view that he hadn't yet > found a satisfying way to revise and remediate the original version. I > haven't asked him about since then. I am sure he would also be very > interested to know if anyone has figured out how to preserve the flicker > via contemporary digital video media. > best, > Federico > > > > > > > > > > > Date: Wed, 13 Aug 2025 13:14:26 -0500 >> From: jared ashburn <[email protected]> >> To: Experimental Film Discussion List <[email protected]> >> Subject: Re: [Frameworks] field-level processing in video >> Message-ID: >> <CACFi8AVqrK= >> [email protected]> >> Content-Type: text/plain; charset="utf-8" > > > Mark, Adam, Michael, and Robert, > > I saw "Crystal Palace" at some point, but couldn't remember the title. It > was that one that provoked my question, so thank you for reminding me. I'm > seeing it described as "An ode to digital interlace, which is to video what > intervals between frames are to film…". Do you happen to remember if it was > displayed on a CRT? I'm trying to figure out the title of the other one you > mentioned, and I do wonder if (and how) he managed to resolve the transfer > to a progressive format. I stumbled upon the same kind of field flicker in > FCP at about the same time he made "Crystal Palace" and was only able to > capture the output through rescan. I think a VTR (analog without an > internal TBC, maybe?) and a display that doesn't deinterlace by default > might work to preserve the field flicker, but I'm not certain. I also don't > know if that could then be transferred to a digital format (tape or file) > without it being deinterlaced at some point. Even if it were, as Adam > points out, most all digital projectors (and LCDs) would deinterlace and > apply frame interpolation, which would kill the flicker. To Robert's point, > perhaps field-based effects are best left to the analog domain. Still, even > there, it required a special instrument (Rutt/Etra or the Vasulkas Digital > Image Articulator —a hybrid device). Michael, I am unfamiliar with Yalkut's > work that you mentioned. I'd be interested to know, and VERY curious to > know what instruments he used. Thank you all for your input. I appreciate > it. -Jared > > On Sun, Aug 10, 2025 at 2:45 PM Robert Harris <[email protected]> > wrote: > > > The person who most formally, thoroughly, and passionately immersed > > themself in the video field, in the formative instant of image > generation, > > was video maker/filmmaker Al Robbins, working with portapak, reel to reel > > video in 1973 and after. > > Given the fragile, uncopyable nature of his tapes, and given the > generally > > galleryizing world of video in the mid 70’s, Al’s work was tragically > under > > appreciated. > > Rather than look to filmmakers who had no interest in analog video, you > > should pursue your Vasulka thread, and look to the individuals associated > > with the Experimental Television Center in Owego, NY. Founder Ralph > Hocking > > is deceased, his wife and collaborator Sherry Hocking Miller is still > > around. Seek out Peer Bode, Hank Rudolph, David Jones, Neil Zussman. > > But for the original artist with absolute investment in the glitch and > all > > its implications, Al Robbins. > > > > > > > > Robert Harris, Professor > > Fitchburg State University > > > > > > > > > On Aug 9, 2025, at 12:13 AM, jared ashburn <[email protected]> > > wrote: > > > > > > Does anyone know if Ken Jacobs, Ernie Gehr, or any other artists > besides > > Woody and Steina Vasulka have worked at the level of the video field? I’m > > particularly interested in practices that manipulate fields (1/60 second > in > > NTSC), whether for timing-based image alteration or for preserving > > field-specific flicker phenomena. Thanks! > > > -- > > > > > ---------- Forwarded message ---------- > From: jared ashburn <[email protected]> > To: Experimental Film Discussion List <[email protected]> > Cc: > Bcc: > Date: Thu, 14 Aug 2025 14:00:18 -0500 > Subject: Re: [Frameworks] field-level processing in video > Federico, > > What is the title of your article, and how can we access it? The video > field, as a temporally distinct unit for image manipulation, has > effectively been eliminated in contemporary digital media. The native > structures of modern digital media no longer support field-level effects in > the way analog interlaced video once did. In practical terms, half-frames > and the process of frame-forming (utilizing the 16.7 microsecond window of > the vertical blanking interval) have largely disappeared for most > production and display contexts. This is one of the greatest tragedies in > the move to progressive, digital formats, if you ask me. I'm sure Gehr has > access to video engineers who could resolve this issue for him, but it > would require a funky workflow. It wouldn't be clean, and I think it would > require a CRT-based monitor or projector for exhibition. That part doesn't > seem too horrible to me, but getting there would be tough and might involve > a rescan at some point. No one wants to do that, but it's worth remembering > that all of Woody's work (and most everyone else's, I think) with the > Rutt/Etra was rephotographed or rescanned. His still images and tapes from > that time look fantastic, but he went to great lengths to compensate for > the flattening effects of rephotography/rescan. I might suggest that Gehr > reach out to a tool and instrument builder or programmer. This would > require a video engineer who thinks in rather unusual ways! I'm thinking of > Dave Jones, Jeff Schier, Derek Holzer (an authority on scan processing), CT > Lui, and maybe Walter Wright. Luke Dubois, who coauthored Jitter, would > also be a good source of info, I bet. Thank you for your input, Federico, > and your excellent research and writing (I am also a Sharits fanatic!). > > Best wishes, > jared > > > > On Thu, Aug 14, 2025 at 1:07 PM Federico Windhausen <[email protected]> > wrote: > >> Hello Jared & co., >> Apologies if this message is out of sync with the current thread about >> this topic. I only receive the delayed, digest version of Frameworks. >> I saw Crystal Palace at the Walter Reade cinema in New York in 2002. >> Because the venue's video projector was not progressive-scan, the video's >> flicker was quite visible. In 2011, I saw the video again, interlaced >> flicker intact, on an old CRT monitor in Ernie Gehr's home studio in >> Brooklyn. >> That year, I wrote about the video for an article (to my chagrin, in the >> print version, an editorial error led to the still images of the video's >> flicker being omitted). Not long afterwards, Ernie debuted a new version, >> once again at the Walter Reade theater. He had attempted to use alternative >> digital effects to compensate for the lack of the flicker "artifacting" on >> now-ubiquitous progressive-scan video projectors. (I recall a number of >> freeze frames that lacked flicker and thus made the video seem more static >> than it had previously been.) He wasn't able to achieve anything close to >> what he'd done in 2002. We discussed this after the screening. He was >> pretty unhappy with the results, and I shared his view that he hadn't yet >> found a satisfying way to revise and remediate the original version. I >> haven't asked him about since then. I am sure he would also be very >> interested to know if anyone has figured out how to preserve the flicker >> via contemporary digital video media. >> best, >> Federico >> >> >> >> >> >> >> >> >> >> >> Date: Wed, 13 Aug 2025 13:14:26 -0500 >>> From: jared ashburn <[email protected]> >>> To: Experimental Film Discussion List <[email protected]> >>> Subject: Re: [Frameworks] field-level processing in video >>> Message-ID: >>> <CACFi8AVqrK= >>> [email protected]> >>> Content-Type: text/plain; charset="utf-8" >> >> >> Mark, Adam, Michael, and Robert, >> >> I saw "Crystal Palace" at some point, but couldn't remember the title. It >> was that one that provoked my question, so thank you for reminding me. I'm >> seeing it described as "An ode to digital interlace, which is to video >> what >> intervals between frames are to film…". Do you happen to remember if it >> was >> displayed on a CRT? I'm trying to figure out the title of the other one >> you >> mentioned, and I do wonder if (and how) he managed to resolve the transfer >> to a progressive format. I stumbled upon the same kind of field flicker in >> FCP at about the same time he made "Crystal Palace" and was only able to >> capture the output through rescan. I think a VTR (analog without an >> internal TBC, maybe?) and a display that doesn't deinterlace by default >> might work to preserve the field flicker, but I'm not certain. I also >> don't >> know if that could then be transferred to a digital format (tape or file) >> without it being deinterlaced at some point. Even if it were, as Adam >> points out, most all digital projectors (and LCDs) would deinterlace and >> apply frame interpolation, which would kill the flicker. To Robert's >> point, >> perhaps field-based effects are best left to the analog domain. Still, >> even >> there, it required a special instrument (Rutt/Etra or the Vasulkas Digital >> Image Articulator —a hybrid device). Michael, I am unfamiliar with >> Yalkut's >> work that you mentioned. I'd be interested to know, and VERY curious to >> know what instruments he used. Thank you all for your input. I appreciate >> it. -Jared >> >> On Sun, Aug 10, 2025 at 2:45 PM Robert Harris <[email protected]> >> wrote: >> >> > The person who most formally, thoroughly, and passionately immersed >> > themself in the video field, in the formative instant of image >> generation, >> > was video maker/filmmaker Al Robbins, working with portapak, reel to >> reel >> > video in 1973 and after. >> > Given the fragile, uncopyable nature of his tapes, and given the >> generally >> > galleryizing world of video in the mid 70’s, Al’s work was tragically >> under >> > appreciated. >> > Rather than look to filmmakers who had no interest in analog video, you >> > should pursue your Vasulka thread, and look to the individuals >> associated >> > with the Experimental Television Center in Owego, NY. Founder Ralph >> Hocking >> > is deceased, his wife and collaborator Sherry Hocking Miller is still >> > around. Seek out Peer Bode, Hank Rudolph, David Jones, Neil Zussman. >> > But for the original artist with absolute investment in the glitch and >> all >> > its implications, Al Robbins. >> > >> > >> > >> > Robert Harris, Professor >> > Fitchburg State University >> > >> > >> > >> > > On Aug 9, 2025, at 12:13 AM, jared ashburn <[email protected]> >> > wrote: >> > > >> > > Does anyone know if Ken Jacobs, Ernie Gehr, or any other artists >> besides >> > Woody and Steina Vasulka have worked at the level of the video field? >> I’m >> > particularly interested in practices that manipulate fields (1/60 >> second in >> > NTSC), whether for timing-based image alteration or for preserving >> > field-specific flicker phenomena. Thanks! >> > > -- >> >> -- >> Frameworks mailing list >> [email protected] >> https://mail.film-gallery.org/mailman/listinfo/frameworks_film-gallery.org >> > > > > ---------- Forwarded message ---------- > From: Adam Hyman <[email protected]> > To: Experimental Film Discussion List <[email protected]> > Cc: > Bcc: > Date: Thu, 14 Aug 2025 13:04:00 -0700 > Subject: [Frameworks] Bruce McClure contact > > Greetings all, > > Does anyone have contact info for Bruce McClure. If so, please email me > off list. Thank you. > > > > Best regards, > > > > Adam Hyman > > > > > > ----- > > Adam Hyman > > Executive Director > > Los Angeles Filmforum > > www.lafilmforum.org > > [email protected] > > 323-377-7238 > > > > > ---------- Forwarded message ---------- > From: Adam Hyman <[email protected]> > To: Experimental Film Discussion List <[email protected]> > Cc: > Bcc: > Date: Thu, 14 Aug 2025 14:01:04 -0700 > Subject: Re: [Frameworks] Bruce McClure contact > > Hi all, > > I’ve received the email from a few people now. No need to send any > further. Thank you! > > > > Best, > Adam > > > > *From: *Frameworks <[email protected]> on behalf of > Adam Hyman <[email protected]> > *Reply-To: *Experimental Film Discussion List <[email protected] > > > *Date: *Thursday, August 14, 2025 at 1:05 PM > *To: *Experimental Film Discussion List <[email protected]> > *Subject: *[Frameworks] Bruce McClure contact > > > > Greetings all, > > Does anyone have contact info for Bruce McClure. If so, please email me > off list. Thank you. > > > > Best regards, > > > > Adam Hyman > > > > > > ----- > > Adam Hyman > > Executive Director > > Los Angeles Filmforum > > www.lafilmforum.org > > [email protected] > > 323-377-7238 > > > > -- Frameworks mailing list [email protected] > https://mail.film-gallery.org/mailman/listinfo/frameworks_film-gallery.org > > > > ---------- Forwarded message ---------- > From: ev petrol <[email protected]> > To: Experimental Film Discussion List <[email protected]> > Cc: > Bcc: > Date: Thu, 14 Aug 2025 23:37:49 +0000 (UTC) > Subject: [Frameworks] Looking for a quiet space to edit in NYC > Hello all, > I'm looking for a quiet space where I can edit - ideally install a large > desk and use the wall space behind it (to tape/pin up notes &c) > All and any leads would be very gratefully received! > thanks Moira > > moiratierney.net vimeo.com/moiratierney > > > On Wednesday, April 23, 2025 at 08:19:04 PM EDT, Jimmy Schaus < > [email protected]> wrote: > > > Oh, and The Laughing Alligator (Juan Downey) and any number of films by > Ojoboca. > > On Wed, Apr 23, 2025 at 6:53 PM Jimmy Schaus <[email protected]> > wrote: > > *Between Relating and Use *(Nazlı Dinçel) > > > > > On Wed, Apr 23, 2025 at 5:28 PM Ж <[email protected]> wrote: > > Hey, > how are you? > > I would suggest two works, *Luchando* > <https://lightcone.org/en/film-7243-luchando> by yann beauvais. > and the installation Urban Stories/ Nanling-Guangzhou, by Sylvie Blocher. > > Good luck! > > Best, > Ж > ______________________________ > > [ele-dele/he-him] > *film( )s & + *kkinema.com.br > *publicações /editions **& +* textodecinema.com > > > > Em qua., 23 de abr. de 2025 às 17:32, Felipe Guerrero < > [email protected]> escreveu: > > Our latest film, *Morichales, *could expand this discussion: > https://filmotor.com/morichales/ > > El mié, 23 abr 2025 a las 11:07, scott (<[email protected]>) > escribió: > > Sans Soleil is pretty accesible > > On Wed, Apr 23, 2025 at 9:18 AM peter snowdon <[email protected]> wrote: > > Renzo Maartens' films could make a good jumping off point for this kind of > conversation. > https://renzomartens.com/work/ > > Good luck! The difficult collaborations can often be the most fruitful:-) > Peter > > On Wed, Apr 23, 2025, at 12:34 AM, Kitty wrote: > > =EF=BB=BF > > Hi Frameworks, > > > > I am working with an anthropologist on a (possibly defined as) > ethnographic f= > > ilm and he needs some experimental film context to help us get on the > same p= > > age. In fact he has little to no film history besides from the rather > mainst= > > ream cinema =E2=80=A6 so its time for a little experimental film > history...!= > > =20 > > > > Of course I have a list things forming already but I thought I would > pose th= > > is question here to really open up pandora's box to get a wide scope > beyond e= > > ven what I might be thinking about.... > > > > So really any filmmakers or specific films, installations, performances, > exp= > > anded cinema pieces, video art, etc, that could even be slightly related > to t= > > he subjects of; self reflective poetic ethnographic films, documentaries > tha= > > t question the idea of being documentaries, films where fiction and fact > sli= > > p and slide and also if they happen to touch on the subjects (but not > exclus= > > ively this) the global south, migratory workers, immigration, > colonialism, i= > > ndigenous culture, racism, and farming.=20 > > I know this is all very broad, but I wanted to let it be like that and > see w= > > hat varied answers I would get. =20 > > > > Thank you, > > Katherine Bauer > > > > > > -- > > Frameworks mailing list > > [email protected] > > > https://mail.film-gallery.org/mailman/listinfo/frameworks_film-gallery.org > > -- > "Partnering with [authoritarian] regimes, it never pays off in the long > term." > JD Vance, Paris, 10 February 2025, as quoted by The Guardian. > > -- > Frameworks mailing list > [email protected] > https://mail.film-gallery.org/mailman/listinfo/frameworks_film-gallery.org > > -- > Frameworks mailing list > [email protected] > https://mail.film-gallery.org/mailman/listinfo/frameworks_film-gallery.org > > -- > Frameworks mailing list > [email protected] > https://mail.film-gallery.org/mailman/listinfo/frameworks_film-gallery.org > > -- > Frameworks mailing list > [email protected] > https://mail.film-gallery.org/mailman/listinfo/frameworks_film-gallery.org > > -- > Frameworks mailing list > [email protected] > https://mail.film-gallery.org/mailman/listinfo/frameworks_film-gallery.org > -- > Frameworks mailing list > [email protected] > https://mail.film-gallery.org/mailman/listinfo/frameworks_film-gallery.org > -- James Hansen Associate Professor Of Art History, NYSCC at Alfred University Curator of Light Matter Film Festival
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