hey folksi'll be looking for a room-mate / subletter in may/june (& maybe
longer tbc)
big loft in dumbo with a working steenbeck, projectors &cprobably better for
someone with a 9 to 5, there's a building site across the road that can get
loudget in touch for details &/or pass it on!
cheers moira moiratierney.net
vimeo.com/moiratierney
On Thursday, March 19, 2015 10:38 AM, Amanda Christie
<[email protected]> wrote:
I'm glad to see that my tax dollars at least preserve this equipment at the
National Archives... even if it's mostly archiving commercial stuff at the
moment, I am still optimistic that with some advocacy and lobbying, we can put
infrastructures in place to encourage the acquisition and preservation of
independent, experimental and art films. The Independent Media Arts Alliance
is currently looking into this.
Just the fact that this equipment is preserved and running and maintained
somewhere is so important.I posted a few photos of their equipment on my
twitter feed if any of you want to see some photos, my handle is:
@magnet_mountain
A few years ago, as commercial labs were sending much of this stuff away for
scrap metal... I really felt that it was important for artist run centres and
film-co-ops to maintain this gear (especially the larger stuff), even if it
didn't get a high volume of use by members... because individual artists aren't
likely to be able to house a 35mm optical printer or animation stand in their
studio... so for artists who use this equipment, they need to be able to find
it and access it somewhere... even if this equipment doesn't get high volume
use... once it disappears, it will be zero-volume use. Sadly now though, there
seems to be a trend of centres getting rid of stuff that doesn't get a lot of
use, in favour of newer equipment that gets rented more often. I totally
understand the logic from an administration side... but it does mean that
artists working in these processes have to look harder and travel farther to
find specialized equipment... and because much of this stuff is not
manufactured any more... and because after being sold several times... much of
it is eventually sold for scrap metal because it takes up precious space...
some of these things are becoming like endangered species, and as they become
more rare, we find ourselves dealing with endangered art practices.
So, I'm glad that there is a solid set of equipment at the National archives
being preserved and maintained in working order... (even if it's mostly
archiving commercial work now, at least it's in working order and being
maintained).
I just wish it was easier for artist run centres and film co-ops to also have
the resources (money, space, etc) to maintain this equipment as well for
artists who wish to access and use them to make new work. It's not easy for
the centres and co-ops. They have a lot of challenges.
So, I'm raising my cup of coffee in a toast to all you diligent workers and
advocates at centres, labs, and co-ops around the world, keeping equipment like
this alive and running and accessible to artists. Thank you!Your job is not
always easy, but it is important and appreciated. This morning cup of coffee
toast is for you! Cheers.
xoadc
On 2015-03-18, at 11:36 AM, Nicholas Kovats wrote:
Excellent report, Amanda! I have no objection to this type of taxation. :)
I suspect Klaus Linnenbruegger <[email protected]> built the
National Archive wet gates as per his work at the National Film
Archives of Canada in Ottawa and the Library of Congress in Dayton,
Ohio. He has a web site (KL Archival Film Equipment, i.e.
http://www.klarchivalfilmequipment.ca/, I believe he also resides in
the Ottawa area.
35mm = http://www.klarchivalfilmequipment.ca/Wetgates-Full.01.html
28mm = http://www.klarchivalfilmequipment.ca/Wetgates-Full.02.html
16mm = http://www.klarchivalfilmequipment.ca/Wetgates-Full.03.html
16mm absent registration pins. For severe shrinkage =
http://www.klarchivalfilmequipment.ca/Wetgates-Full.04.html
9.5mm = http://www.klarchivalfilmequipment.ca/Wetgates-Full.06.html
R8/S8 = http://www.klarchivalfilmequipment.ca/Wetgates-Full.05.html
Lots of precious equipment and specialized adaptations. He was still
operational as of my 2009 email correspondence.
Nicholas
On Wed, Mar 18, 2015 at 9:45 AM, Jean-Louis Seguin <[email protected]> wrote:
Our glorious tax dollars at work!
Jean-Louis
Sent from my iPhone
On Mar 18, 2015, at 8:25 AM, Amanda Christie <[email protected]>
wrote:
I was just at the National Archives of Canada Preservation Centre this week,
and they have AMAZING optical blow up facilities.
they have all the gates (not just regular 8, super8, 16mm, super 16mm, and
35mm, but also 9mm, 9.5 mm, and 28 mm). As well as a contact printer and their
own lab.
Sadly, their facilities can't be accessed by the public, it's only for working
with their own archives and the collection... and double-plus sadly there is
not a lot of support for acquiring art or experimental films.... hopefully that
will change soon.... currently most of the films they acquire are anything
produced through Telefilm Canada or the Canadian Media Fund, because there are
infrastructures in place for all works made through those programs to be
automatically acquired by the National Archives... however, there are currently
no infrastructures in place or policies for regularly acquiring independent or
experimental films... they do have some... but it's apparently, convincing them
to acquire the works can be tricky.
But at least those facilities exist!
They also have a few rooms full of intercines (including one that was modified
to do 9mm and 28mm)... all of their gear is super clean and in working order.
Amanda Dawn Christie
--------------------------------
506-871-2062
www.amandadawnchristie.ca
[email protected]
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