Thanks James Hansen,
> On Aug 15, 2025, at 1:30 PM, James Hansen <[email protected]> wrote: > > 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] > <mailto:[email protected]>> wrote: >> Send Frameworks mailing list submissions to >> [email protected] <mailto:[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] >> <mailto:[email protected]> >> >> You can reach the person managing the list at >> [email protected] >> <mailto:[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] >> <mailto:[email protected]>> >> To: Experimental Film Discussion List <[email protected] >> <mailto:[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] >> <mailto:[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] >>> <mailto:[email protected]>> on behalf of Steve Polta >>> <[email protected] <mailto:[email protected]>> >>> Reply-To: Experimental Film Discussion List <[email protected] >>> <mailto:[email protected]>> >>> Date: Wednesday, August 13, 2025 at 2:07 PM >>> To: Experimental Film Discussion List <[email protected] >>> <mailto:[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] >>> <mailto:[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] >>> <mailto:[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] >>> > <mailto:[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] <mailto:[email protected]> >>> > https://mail.film-gallery.org/mailman/listinfo/frameworks_film-gallery.org >>> >>> -- >>> Frameworks mailing list >>> [email protected] <mailto:[email protected]> >>> https://mail.film-gallery.org/mailman/listinfo/frameworks_film-gallery.org >>> >>> -- >>> Frameworks mailing list >>> [email protected] <mailto:[email protected]> >>> https://mail.film-gallery.org/mailman/listinfo/frameworks_film-gallery.org >>> >>> -- Frameworks mailing list [email protected] >>> <mailto:[email protected]> >>> https://mail.film-gallery.org/mailman/listinfo/frameworks_film-gallery.org >>> >>> -- >>> Frameworks mailing list >>> [email protected] <mailto:[email protected]> >>> https://mail.film-gallery.org/mailman/listinfo/frameworks_film-gallery.org >> >> >> >> ---------- Forwarded message ---------- >> From: Federico Windhausen <[email protected] <mailto:[email protected]>> >> To: [email protected] <mailto:[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] >>> <mailto:[email protected]>> >>> To: Experimental Film Discussion List <[email protected] >>> <mailto:[email protected]>> >>> Subject: Re: [Frameworks] field-level processing in video >>> Message-ID: >>> <CACFi8AVqrK=v6rosxftcxo-gwuapzhc+p_hk9e+uf9epdjp...@mail.gmail.com >>> <mailto:v6rosxftcxo-gwuapzhc%2bp_hk9e%2buf9epdjp%[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] >> <mailto:[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] >> > > <mailto:[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] >> <mailto:[email protected]>> >> To: Experimental Film Discussion List <[email protected] >> <mailto:[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] >> <mailto:[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] >>>> <mailto:[email protected]>> >>>> To: Experimental Film Discussion List <[email protected] >>>> <mailto:[email protected]>> >>>> Subject: Re: [Frameworks] field-level processing in video >>>> Message-ID: >>>> >>>> <CACFi8AVqrK=v6rosxftcxo-gwuapzhc+p_hk9e+uf9epdjp...@mail.gmail.com >>>> <mailto:v6rosxftcxo-gwuapzhc%2bp_hk9e%2buf9epdjp%[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] >>> <mailto:[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] >>> > > <mailto:[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] <mailto:[email protected]> >>> https://mail.film-gallery.org/mailman/listinfo/frameworks_film-gallery.org >> >> >> >> ---------- Forwarded message ---------- >> From: Adam Hyman <[email protected] <mailto:[email protected]>> >> To: Experimental Film Discussion List <[email protected] >> <mailto:[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 <http://www.lafilmforum.org/> >> [email protected] <mailto:[email protected]> >> 323-377-7238 >> >> >> >> >> ---------- Forwarded message ---------- >> From: Adam Hyman <[email protected] <mailto:[email protected]>> >> To: Experimental Film Discussion List <[email protected] >> <mailto:[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] >> <mailto:[email protected]>> on behalf of Adam Hyman >> <[email protected] <mailto:[email protected]>> >> Reply-To: Experimental Film Discussion List <[email protected] >> <mailto:[email protected]>> >> Date: Thursday, August 14, 2025 at 1:05 PM >> To: Experimental Film Discussion List <[email protected] >> <mailto:[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 <http://www.lafilmforum.org/> >> [email protected] <mailto:[email protected]> >> 323-377-7238 >> >> >> >> -- Frameworks mailing list [email protected] >> <mailto:[email protected]> >> https://mail.film-gallery.org/mailman/listinfo/frameworks_film-gallery.org >> >> >> >> >> ---------- Forwarded message ---------- >> From: ev petrol <[email protected] <mailto:[email protected]>> >> To: Experimental Film Discussion List <[email protected] >> <mailto:[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 <http://moiratierney.net/> vimeo.com/moiratierney >> <http://vimeo.com/moiratierney> >> >> >> On Wednesday, April 23, 2025 at 08:19:04 PM EDT, Jimmy Schaus >> <[email protected] <mailto:[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] >> <mailto:[email protected]>> wrote: >> Between Relating and Use (Nazlı Dinçel) >> >> >> On Wed, Apr 23, 2025 at 5:28 PM Ж <[email protected] >> <mailto:[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 <http://kkinema.com.br/> >> publicações /editions & + textodecinema.com <http://textodecinema.com/> >> >> >> Em qua., 23 de abr. de 2025 às 17:32, Felipe Guerrero >> <[email protected] <mailto:[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] >> <mailto:[email protected]>>) escribió: >> Sans Soleil is pretty accesible >> >> On Wed, Apr 23, 2025 at 9:18 AM peter snowdon <[email protected] >> <mailto:[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] <mailto:[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] <mailto:[email protected]> >> https://mail.film-gallery.org/mailman/listinfo/frameworks_film-gallery.org >> -- >> Frameworks mailing list >> [email protected] <mailto:[email protected]> >> https://mail.film-gallery.org/mailman/listinfo/frameworks_film-gallery.org >> -- >> Frameworks mailing list >> [email protected] <mailto:[email protected]> >> https://mail.film-gallery.org/mailman/listinfo/frameworks_film-gallery.org >> -- >> Frameworks mailing list >> [email protected] <mailto:[email protected]> >> https://mail.film-gallery.org/mailman/listinfo/frameworks_film-gallery.org >> -- >> Frameworks mailing list >> [email protected] <mailto:[email protected]> >> https://mail.film-gallery.org/mailman/listinfo/frameworks_film-gallery.org >> -- >> Frameworks mailing list >> [email protected] <mailto:[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 > -- > Frameworks mailing list > [email protected] > https://mail.film-gallery.org/mailman/listinfo/frameworks_film-gallery.org
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