<https://gallery.mailchimp.com/e4e99825c1d97f8de6eaffad3/images/c6a4b757-b14c-4ec9-b8c6-9553961a080e.gif> This week [July 21-29, 2019] in avant garde cinema Enter your event announcements by going to the <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=424179c3bb&e=f36020cad0> Flicker Weekly Listing Form. To receive the weekly listing via email: <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=5cafc42d2a&e=f36020cad0> Subscribe. <https://scontent-sjc3-1.xx.fbcdn.net/v/t1.0-9/67237841_2289626691092622_7555896699814674432_n.jpg?_nc_cat=111&_nc_oc=AQm64Z76FvMlVG6K8qHG1bbI28Bnsjwuuc1mnv4jLiN1wOCnOYs2qQmC7IHVhtKDHcc&_nc_ht=scontent-sjc3-1.xx&oh=047bc4720c3bd2a17d576ab55255b83c&oe=5DAB8EF7> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=bd634c0464&e=f36020cad0> Not An Addict Presents An Evening With Michael Woods [July 28, New York, New York] NEW CALLS FOR ENTRIES: PRISME #2 (France ; Deadline: September 01, 2019) <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=2eca43625e&e=f36020cad0> http://hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=2037.ann DOBRA - Festival Int'l de Cinema Experimental (Rio de Janeiro, Brazil ; Deadline: August 10, 2019) <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=83fe158cd6&e=f36020cad0> http://hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=2038.ann Analogica (Bolzano, Italy; Deadline: July 31, 2019) <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=a23013b172&e=f36020cad0> http://hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=2039.ann The Wake Up! Memorial (Cologne, Germany; Deadline: October 31, 2019) <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=196d8b61d5&e=f36020cad0> http://hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=2040.ann DEADLINES APPROACHING: Save the Archives Film Festival (Milwaukee, WI, 53211; Deadline: August 05, 2019) <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=f981f5046d&e=f36020cad0> http://hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=2031.ann THEN, WHAT IF? (Torrington, CT; Deadline: August 01, 2019) <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=fa8c498061&e=f36020cad0> http://hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=2036.ann DOBRA - Festival Int'l de Cinema Experimental (Rio de Janeiro, Brazil ; Deadline: August 10, 2019) <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=9e5f7be18f&e=f36020cad0> http://hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=2038.ann Analogica (Bolzano, Italy; Deadline: July 31, 2019) <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=bfa7bfc002&e=f36020cad0> http://hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=2039.ann Events are sorted alphabetically BY CITY within each DATE. This week's programs (summary): * All That Passes By Through A Window That Doesn't Open [July 21, Brooklyn, NY United States] * Missed Connections [July 21, San Francisco, California] * Scrapbook Performances: Tessa Hughes-Freeland / Raha Raissnia [July 22, Brooklyn, New York] * Chromatic Modernity: Color and Cinema of the 1920s [July 23, Brooklyn, NY United States] * Travis Wilkerson Performing Did You Wonder Who Fired the Gun? [July 23, Los Angeles, California] * Breaking the Frame: A Portrait of Carolee Schneemann By Marielle Nitoslawska [July 25, Los Angeles, California] * For A Winter: Remembering Jonathan Schwartz [July 25, San Francisco, CA United States] * The Myth of General Intelligence: Radiolab&Rsquo;S Dangerous Ideas [July 26, Brooklyn, NY United States] * Cineinfinito #98: David Wharry [July 26, Santander, Spain] * Yours In Sisterhood, By Irene Lusztig [July 28, Los Angeles, California] * Not An Addict Presents An Evening With Michael Woods [July 28, New York, New York] SUNDAY, JULY 21, 2019 7/21 Brooklyn, NY United States: UnionDocs <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=c697054185&e=f36020cad0> http://www.uniondocs.org 7:30 PM, 322 Union Ave ALL THAT PASSES BY THROUGH A WINDOW THAT DOESN'T OPEN Sunday, come through a program of work that mindfully observes global transit, labor, transience and place with two open and curious glances toward overlooked outsiders from Martin DiCicco and Braden King. [ POSTCARDS FROM ] HERE 10 min., 2011 Braden King; [ POSTCARDS FROM ] HERE presents meditative (and, at times, surreal) imagery that reveals Armenia’s history, traditions and contemporary life in an experiential fashion as seen by outsider eyes. Its imagery is interwoven with first-person narratives gathered in different regions of the country. Like a memory or dream, [ POSTCARDS FROM ] HERE is an exploration of a unique geographic and temporal place, creating a rich portrait of Armenia and its people as seen through the lens of an intense creative journey All That Passes by Through a Window that Doesn’t Open 70 min., 2017 Directed by Martin DiCicco; A journey by rail through opportunity and regret in Azerbaijan and Armenia, floating through the expanse- striving to fill their days and dreams, as much as their pockets. Winner of the Visions du Reel Best First Film Award. 7/21 San Francisco, California: Canyon Cinema <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=c487731f3d&e=f36020cad0> http://www.canyoncinema.com 3pm, 1275 Minnesota Street MISSED CONNECTIONS Missed Connections celebrates recent additions to Cinematheque’s online bookstore through the presentation of films by Stephanie Barber, Sky Hopinka and Jonathan Schwartz while also celebrating the release of Canyon Cinema’s Cinemazine #6: Missed Connections with a selection of work by Canyon filmmakers that interpolates the manifold themes of the new issue. A missive to lives lost A state of untranslatable interiority The space between images and frames A gaze once glimpsed, never to be seen again An existence determined by chance and contingency “You cannot step into the same river twice” — Alix Blevins SCREENING: Stephanie Barber: The Forest Is Offended (2017). A film poem thinking about the physics of sound, the need sound has to vibrate and bounce off a molecule or atom to return to our ears; thinking about this physical property as a metaphor for spirituality or love. (Stephanie Barber) Sky Hopinka: I’ll Remember You as You Were, not as What You’ll Become (2016). An elegy to poet Diane Burns on the shapes of mortality, and being, and the forms the transcendent spirit takes while descending upon landscapes of life and death. (Sky Hopinka) Jonathan Schwartz: The Crack-Up (2017). The ability to hold two opposed ideas in the mind at the same time, and still retain the ability to function. One should, for example, be able to see that things are hopeless and yet be determined to make them otherwise. (F. Scott Fitzgerald: The Crack-Up, 1936) ~~~~~ Robert Todd: Within (2012). Within lives in a state that seems to resist perspectival definition, hovering somewhere between what is “out there” and an internally defined image space that is at once shallow and deep, layered and reflective, barely there and yet very much alive. It is twilight. (Robert Todd) Philip Hoffman: Kokoro is for Heart (1999). …features a sound composition and performance by poet Gerry Shikatani, and explores the relationships surrounding language, image and sound[…]. What is nature? What is natural? (Philip Hoffman) Karen Holmes: Saving the Proof (1979). A complex transformation of an ordinary action: a woman walking… (Margaret Ganahl, Camera Obscura) Josephine Massarella: One Woman Waiting (1984). …an enigmatic film of a symbolic encounter… Lynne Sachs: Same Stream Twice (2012) My daughter’s name is Maya. I’ve been told that the word maya means illusion in Hindu philosophy. In 2001, I photographed her at six years old, spinning like a top around me. Even then, I realized that her childhood was not something I could grasp but rather—like the wind—something I could feel tenderly brushing across my cheek. 11 years later, […] she allows me to film her—different but somehow the same. (Lynne Sachs) MONDAY, JULY 22, 2019 7/22 Brooklyn, New York: Microscope Gallery <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=f3399f86dd&e=f36020cad0> http://www.microscopegallery.com 7:30pm, 1329 Willoughby Ave SCRAPBOOK PERFORMANCES: TESSA HUGHES-FREELAND / RAHA RAISSNIA An evening of live expanded cinema performances by Tessa Hughes-Freeland and Raha Raissnia as the 2nd of nine performance events taking place as part of our current exhibition “Scrapbook (or, Why Can’t We Live Together)”. The night features two performances by both artists. The female psyche and perspective is at the forefront of Hughes-Freeland’s works “INSTINCT” (2010) and “SALO REMIX” (2016), intense visual collages incorporating found footage and manipulated live through gel, lenses and other objects in which the artist accumulates image and sound to “sensual overload”. Raissnia’s works “Nadir 3” (2016) and “Galvanoscope 4″ (2019) draw attention to the passage of time, history and the human condition, incorporating original still photographic imagery and found 35mm slides respectively. The performances also involve various manipulations of light and lenses as well as hand-pulling hand-painted film through a 35mm slide projector, with live sound by the artist. Tessa Hughes-Freelandworks in a variety of formats and mediums, and her films have been shown in diverse venues, ranging from internationally prominent museums to seedy bars in gritty neighborhoods. Her work is best described as “confrontational, transgressive, provocative and poetic”. Her films have screened internationally in North America, Europe and Australia and in prominent museums and galleries, including the Museum of Modern Art, the Museum of Contemporary Art, Los Angeles, the Whitney Museum of American Art, the New Museum of Contemporary Art in New York, and the KW Institute of Contemporary Art in Berlin. In 2018 a program of her films was included in the “No–Wave, Transgression” Film Series at MoMA. Currently 5 of her films are included in an exhibition touring museums in Asia. Hughes-Freeland has been a juror for several festivals, and has programmed extensively, most recently for “Punk Lust: Radical Provocation 1971-85 “ on view at The Museum of Sex. She lives and works in New York. Raha Raissnia (b. 1968, Tehran, Iran) received her BFA from the School of the Art institute of Chicago in 1992 and her MFA from Pratt Institute in 2002. In the interim, her interest in avant-garde filmmaking led her to work at Anthology Film Archives (1995– 1999), where she has also exhibited. Raissnia’s work was included in All the World’s Futures, 56th International Art Exhibition, Venice Biennale. Recent solo shows were held at The Drawing Center (New York), Ab/Anbar Gallery (Tehran), Galeria Marta Cervera (Madrid), Galerie Xippas (Paris), and the Isfahan Museum of Contemporary Art (Isfahan, Iran). Raissnia’s projection performances have been held at the Whitney Museum of American Art, MoMA, REDCAT, Kunsthal Rotterdam, Arnolfini – Center for Contemporary Arts, the Drawing Center, Issue Project Room, and Emily Harvey Foundation, among others. More info: www.microscopegallery.com <http://www.microscopegallery.com> . Admission $10, Students and Members $8. Tel: 347.925.1433. [email protected] <mailto:[email protected]> . Jefferson L (exit Starr St). TUESDAY, JULY 23, 2019 7/23 Brooklyn, NY United States: Light Industry <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=b0be6295a4&e=f36020cad0> http://www.lightindustry.org/ 7:00 PM, 155 Freeman St CHROMATIC MODERNITY: COLOR AND CINEMA OF THE 1920S A lecture by Joshua Yumibe "The modern vein in both business and art is predominantly that of color. The dull and the gray have no place in our modern scheme of things. It is only natural, therefore, that motion pictures, the very furthest step forward in twentieth century entertainment, should be filmed in color. Motion pictures reflect the age more sensitively than most of the arts." - Roy Mack (1930) Color today is by and large a readymade, purchased prefabricated with the help of matchable color cards and digital indexes that allow one to choose the ideal hue, saturation, and combinations for the job at hand. This was not always the case, for at one time most pigments were profoundly expensive and required trained specialists to prepare. Our modern sense of color as a standardized commodity dates to the middle of the nineteenth century, when the colorant industry switched from natural dyes to cheaper anilines, allowing for color to expand rapidly across media. Cinema’s origins are rooted in this chromatic revolution, and the medium’s subsequent development through the 1920s furthered its colorful formation. As the talk will detail, modern changes in color’s materiality also marked a transformation in the industrial field; chemical, pharmaceutical, and colorant conglomerates emerged to reshape and standardize the research of color and its manufacturing methods across a range of global enterprises in the early twentieth century, including cinema. Such changes are reflected throughout the arts of the age, from Marcel Duchamp’s astounding painting Tu’m (1918), to Herbert Bayer’s architectural designs for a cinema (1924–1925) while at the Bauhaus, to Pathé films like the stenciled fashion newsreel Le home moderne (1929). Tracking the industrial standardization of color and cinema illuminates a structural shift in knowledge production during this era, which was one of the key factors that enabled cinema to crystalize into a vernacular medium of its own during the chromatic modernity of the 1920s. 7/23 Los Angeles, California: Filmforum <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=9c38e00292&e=f36020cad0> http://www.lafilmforum.org/ 8:00 pm, Velaslavasay Panorama, 1122 W 24th St. TRAVIS WILKERSON PERFORMING DID YOU WONDER WHO FIRED THE GUN? Los Angeles Filmforum and Acropolis Cinema present Travis Wilkerson Performing Did You Wonder Who Fired the Gun? Tuesday, July 23, 2019, 8:00 pm At the Velaslavasay Panorama, 1122 W 24th St, Los Angeles, CA 90007 The Los Angeles premiere of the film, in a rare (and possibly the last) live performance version! Travis Wilkerson in person! One of the leading non-fiction filmmakers today, Travis Wilkerson returns to Los Angeles Filmforum for the Los Angeles premiere of his widely-praised feature film Did You Wonder Who Fired the Gun? Originally developed in part as a live performance, the film now is distributed normally, but we will be presenting it with Wilkerson performing it live again in what may well be the last time he does so! A bracing excavation of family history, white supremacy, and the widespread traumas generated by the criminal treatment of African-Americans in America’s past and present, Wilkerson renders an ugly and irredeemable episode from his family’s past into a radical form of poetic activist cinema. A haunting continuation of his remarkable series of films stretching back to the deeply affecting masterwork An Injury to One. THURSDAY, JULY 25, 2019 7/25 Los Angeles, California: Filmforum <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=21a48f739a&e=f36020cad0> http://www.lafilmforum.org/ 7:00 pm, MOCA Grand Avenue, 250 South Grand Ave., BREAKING THE FRAME: A PORTRAIT OF CAROLEE SCHNEEMANN BY MARIELLE NITOSLAWSKA Los Angeles Filmforum at MOCA presents Breaking the Frame A portrait of Carolee Schneemann by Marielle Nitoslawska Thursday, July 25, 2019, 7:00pm At MOCA Grand Avenue, 250 South Grand Ave., Los Angeles, CA 90012 Filmmaker Marielle Nitoslawska in person! Los Angeles premiere! The loss of pioneering artist Carolee Schneemann (1939-2019) in March affected us deeply, as her boundary and taboo-shattering works in painting, performance, and film have helped revolutionize art in the past five decades. Using her own body as a medium, Schneemann’s most well-known pieces Meat Joy (1964), the film Fuses (1967), Interior Scroll (1975, performed live at Telluride in 1977), and Up to and Including Her Limits (1973-1976), shattered the taboos against the representation of sexuality and the female body. Yet while these pieces scandalized the male-dominated art world, they also irrevocably transformed the history of art. The finest portrait of Schneemann, and a remarkable film by any regard, is Marielle Nitoslawska’s Breaking the Frame (Canada, 2012, digital, 100 minutes), which incredibly has not yet played in Los Angeles. Los Angeles Filmforum at MOCA is delighted to host the LA premiere, especially as a whole sequence of the film is from MOCA’s exhibition WACK! Art and the Feminist Revolution. 7/25 San Francisco, CA United States: San Francisco Cinematheque <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=8c5f31d2c0&e=f36020cad0> http://www.sfcinematheque.org 7:30 PM, 701 Mission St FOR A WINTER: REMEMBERING JONATHAN SCHWARTZ In his short life, filmmaker JONATHAN SCHWARTZ (1973-2018) created a striking body of 16mm and digital video works of deep lyrical sensitivity and a wisdom beyond his years, works which embody exploration and introspection, which caress and patiently observe the world, and which masterfully fuse color, light, gesture and sound into rich and concise, if always expanding, form. Blending travelogue, personal reverie, familial portraiture and literary allusion, Schwartz’ subtle and open-ended films sing with observational grace while presenting intimate, at times troubled, portraits of friends and family in the context of an infinitely complex and conflicted global community. And with an uncanny kindness and a brooding sense of mortality, Schwartz’ films contemplate love, aging, intimacy, generation, loss and hope. (Steve Polta) This memorial screening presents a 64 minute selection of the artist’s substantial body of work, focusing on films dealing with personal and family life, on youth, aging and mortality; with a small selection of travelogue and animation works. SCREENING: for them ending (2005), for a winter (2007), in a year with 13 deaths (2008), happy birthday (2010), between gold (2011), a preface to red (2011), animals moving to the sound of drums (2013), a set of miniatures: a certain worry; an aging process; a kind of quiet (2014), winter beyond winter (2016) FULL DETAILS: https://bit.ly/2KOntEl FRIDAY, JULY 26, 2019 7/26 Brooklyn, NY United States: UnionDocs <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=42d1673f1f&e=f36020cad0> http://www.uniondocs.org 7:30 PM, 322 Union Ave THE MYTH OF GENERAL INTELLIGENCE: RADIOLAB&RSQUO;S DANGEROUS IDEAS Radiolab (WNYC Studios) has been devoted to investigating a the strange world since 2002. True to the podcast’s philosophical and scientific nature, their miniseries “G” has been investigating the concept of intelligence, from the attempts to define and quantify it using tests, to the dark social, political and cultural consequences of those efforts. Join us in listening to excerpts from the just-released fifth episode of the series, a story about a physicist-turned-geneticist who used cutting-edge techniques to develop a pre-natal genetic test for intelligence (which he began selling last fall), and discussing the thorny scientific, ethical and moral questions it raises with series host Pat Walters, radio documentarian Mooj Zadie and video maker Carter Conley. 7/26 Santander, Spain: Centro Cultural Doctor Madrazo 6:00 PM, Casimiro Sainz, S/N CINEINFINITO #98: DAVID WHARRY Cineinfinito #98: David Wharry CINEINFINITO / Centro Cultural Doctor Madrazo Viernes 26 de Julio de 2019, 18:00h. Centro Cultural Doctor Madrazo Calle Casimiro Sainz, s/n 39004 Santander Programa: General Picture series: (ordenado por el autor) · Episode 2: Freighters of Destiny (1980), 16mm, color, sound, 2′ 40 · Episode 4: Wishful Thinking (1978), 16mm, b&w, sound, 4′ 15 · Episode 3: À plate couture (1979), 16mm, b&w, silent, 4′ 40 · Episode 5: For Eyes Only (1978), 16mm, b&w, silent, 2′ 40 · Episode 6: Phaeton (1978), 16mm, b&w, sound, 7′ 25 · Episode 7: Suddenly Once More (1980), 16mm, b&w, silente, 2′ 40 · Episode 10: European crisis (1982), 16mm, b&w, silente, 15′ 30 · Episode 8: Prélude à la nuit (1980)16mm, b&w, sound, 3′ 50 · Episode 12: Body And Soul (1981), 16mm, b&w, silente, 6′ 00 · Episode 15: Carlton Dekker (1986), 16mm, n&b, sonore, 7′ 09 — (pausa) · Episode 13: El Cafetal (1981), 16mm, color, sound, 38′ 00 *Sesión presentada por David Wharry y conducida por José Luis Torrelavega Formato de proyección: HD (copias supervisadas por el autor) Agradecimiento especial a David Wharry, Alexandre Estrela y al Centro Cultural Doctor Madrazo https://www.cineinfinito.org/cineinfinito-98-david-wharry/ SUNDAY, JULY 28, 2019 7/28 Los Angeles, California: Filmforum <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=4c7177fe7d&e=f36020cad0> http://www.lafilmforum.org/ 7:30 pm, Spielberg Theatre at the Egyptian, 6712 Hollywood Blvd. YOURS IN SISTERHOOD, BY IRENE LUSZTIG What might be revealed in the process of inviting strangers to act out and respond to 1970s feminism today? Between 2015 and 2017, hundreds of strangers in communities all over the US were invited to read aloud and respond to letters from the 70s sent to the editor of Ms. Magazine–the first mainstream feminist magazine in the US. The intimate, provocative, and sometimes heartbreaking conversations that emerge from these spontaneous performances make us think critically about the past, present, and future of feminism. Newly urgent in the aftermath of the 2016 election, YOURS IN SISTERHOOD is a collective portrait of feminism now and forty years ago–a project about time travel, embodied listening, empathy, public discourse, and the lost art of letter writing. Irene Lusztig in person! Los Angeles premiere! Trailer: https://vimeo.com/255658635 7/28 New York, New York: Synaesthesia Gallery <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=401e3f3204&e=f36020cad0> http://www.disamedia.squarespace.com 7PM, 47 Thames St #306 New York, New York 11237 NOT AN ADDICT PRESENTS AN EVENING WITH MICHAEL WOODS Not an Addict is an ongoing series of events examining experimental as it pertains to the thematics of the addiction curated by Devon Narine-Singh, filmmaker and artist in recovery. Tonight's evening welcomes filmmaker M.Woods on his US tour to present several works and share his process of how's experience with addiction has shaped him and his work. M. Woods is a American-Latinx media terrorist working in avant-garde film, video art, photography, collage, sound design, and performance. Woods' work chronicles the spread of the Numb Spiral, the results of a digital sickness that manifests itself in the codification and symbolic negation of being. His work is a fashioned attack against the institutional structures of white supremacy and the alpha male fantasy. The Numb Spiral is the point at which consciousness negates being, and a cruel illusion maintains control of the flailing senses. What begins as apathy, surreptitiously devolves into solipsism and nihilism, until the infected succumbs to the perception of total illusion. The Digital Sickness is the evil at the heart of mediated representation, and in tandem with spectacle and the negation of the simulacra, the Digital Sickness marches onwards towards the eradication of the real and the propagation of its double. Represented by LACDA Gallery in Downtown Los Angeles Board Member at The Vast Lab, Los Angeles Distributed by Collectif Jeune Cinema, Paris. DOOR: $15 _____ Let us know about your alternative film/video event! Enter your event announcements by going to the <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=c9fa5093dd&e=f36020cad0> Flicker Weekly Listing Form. To receive the weekly listing via email, send a message to <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=7963bf8771&e=f36020cad0> Subscribe. <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=814ca0a3b0&e=f36020cad0> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=375030f3bb&e=f36020cad0> Copyright © 2019 Flicker, All rights reserved. <https://hi-beam.us9.list-manage.com/track/open.php?u=e4e99825c1d97f8de6eaffad3&id=a873be33a5&e=f36020cad0>
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