Re: [Frameworks] Films or videos with one person playing all the parts

[Jorge Lorenzo Flores Garza]

I think Miranda July has done some of that quite often.  Maybe the early Joanie 
4 Jackie stuff has that dynamic going on.


De: FrameWorks  en nombre de alena 
williams 
Enviado: miércoles, 24 de junio de 2020 10:48 p. m.
Para: Experimental Film Discussion List 
Asunto: Re: [Frameworks] Films or videos with one person playing all the parts

these are my favorites:

https://melhus.de/das-zauberglas-the-magic-glass/

https://melhus.de/again-and-again/

On 24. Jun 2020, at 01:15, kris  wrote:

Hi all,


BJOERN MELHUS makes these films where he often uses an original score or
dialog and re enacts all the speaking roles.

https://melhus.de

https://melhus.de/im-not-the-enemy/

best, kris


--
www.krislimbach.com

On 23.06.20 23:21, Joel Schlemowitz wrote:
Hi all,

A question relating to students creating videos with limited access to
other people due to the COVID-19 situation. . . . Looking for examples
of films or videos with one person playing all the parts.

There are video works by ASM Kobayashi and in Maya Deren in "Meshes of
the Afternoon" there are multiple versions of the protagonist created
through editing. But does anyone know of other interesting works where
someone playing all the parts has a dialogue with "themselves," so to speak?

Best,
Joel

~~
https://www.joelschlemowitz.com 

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Re: [Frameworks] meditative films?

[Jorge Lorenzo Flores Garza]

McLaren's Lines Vertical, Horizontal, and Mosaic.  But I think Vertical in 
particular fits very well with what you are looking for.



De: FrameWorks  en nombre de kate lain 

Enviado: miércoles, 11 de diciembre de 2019 05:29 p. m.
Para: Experimental Film Discussion List 
Asunto: [Frameworks] meditative films?

Hi, Frameworkers.  I’m teaching a multi-part film/video-making workshop for 
high schoolers.  We’re exploring rituals of care, different self-care 
practices, calming techniques, etc., and the students will be making a 
collaborative collage film/video related to all that.  I’d love to show them 
some examples of moving image works for inspiration (or send them links to 
things they can check out on their own).

Do you have any recommendations for short films, videos, animations, gifs, 
video art, etc. in the experimental/art vein that are that are viewable online 
that might fit with this?  (I'm not looking for things like straight 
documentaries on self-care or anything -- I'm thinking about works that are 
more poetic, more in the arena of video art or experimental film.)  Note that 
these students are brand new to experimental film, so I’m not looking for 
particularly challenging works that could be frustrating to them.  Instead, I’m 
looking for pieces that are slower, poetic, perhaps repetitive, meditative that 
someone might be able to relax into.  A couple of films that come to mind are 
Amy Halpern’s “Invocation” (except there's no digital version, dang it, and I 
can only show digital at this school) and James Whitney’s “Lapis”.  But I hope 
to find more works that, like "Invocation," work with representational 
imagery—and works that, in particular, use documentation/documentary-style 
moving images since the students will recording visuals and audio at the school 
site where we’re working (though we may do some basic animation as well).

I’m particularly interested in works by artists of color and queer artists, but 
I’m open to other suggestions as well.  Thank you in advance for any 
recommendations!

Best,
Kate Lain

--
kate lain
katemakesfilms.com

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Re: [Frameworks] suggestions for experimental road movies and/or experimental films about automobility

[Jorge Lorenzo Flores Garza]

I couldn't resist suggesting my own "'On the Road'by Jack Kerouac" jejeje:

http://jorgelorenzocine.mx/en/on-the-road-by-jack-kerouac/


De: FrameWorks  en nombre de Hardin, 
Ted 
Enviado: martes, 23 de julio de 2019 03:40 p. m.
Para: Experimental Film Discussion List 
Asunto: Re: [Frameworks] suggestions for experimental road movies and/or 
experimental films about automobility

James Herbert’s Automan (1988, 20 min.) might be an interesting addition 
stressing ‘automobility.’

Intriguing program.

Ted Hardin
Associate Professor
Cinema Art and Science
Columbia College Chicago
Co-President Long Distance Productions
http://longdistanceproductions.com/
thar...@colum.edu

On Jul 23, 2019, at 8:56 AM, Kornelia Boczkowska 
mailto:kornelia.boczkow...@gmail.com>> wrote:



Hi Bryan,

I'm now working on a three-year, grant-funded post-doctoral project on road 
movie and travelogue forms in avant-garde and experimental film. Eric, many 
thanks for recommending my research!

Below please find a selection of films that follow and/or ideally experiment 
with some of the (mainstream) genre's conventions as proposed by Laderman and 
other scholars - just skip the titles that have been already mentioned. And 
feel free to contact me off list if you're interested in the details of my 
project.

Good luck with your program,

Kornelia





Highway by Hilary Harris (1958)

Quixote by Bruce Baillie (1965)

Mass for the Dakota Sioux by Bruce Baillie (1964)

Road Film by Standish Lawder (1970)

Harmonica by Larry Gottheim (1971)

Pasadena Freeway Stills by Gary Beydler (1974)

Frame by Ken Kobland (1977)

Monitoring the Unstable Earth by Michael Wallin (1980)

Sorted Details by Charles Wright (1980)

Landscape and Desire by Ken Kobland (1981)

West by Mark Street (1985)

Night Highway by Bill Morrison (1990)

Portland by Greta Snider (1996)

Desert Abstractions by Jon Behrens (1997)

Median Strip by James Schneider (1999)

Stark Film by Eric Patrick (1999)

Ghost Trip by Bill Morrison (2000)

Orchard by Julie Murray (2004)

Down the Road by Walter Ungerer (2005)

On The Line by Cathy Lee Crane (2010)

Highway Landscape by J.J. Murphy (1972)

North On Evers by James Benning (1991)

Easy Rider by James Benning (2012)

The Wonder Ring by Stan Brakhage (1955)

Gnir Rednow by Stan Brakhage (196?)

Visions in Meditation #2: Mesa Verde by Stan Brakhage (1989)

Pennsylvania-Chicago-Illinois by Jim Davis (1957-59)

El Train Film - Second Version by Dominic Angerame (1976)

Night Train by Guy Sherwin (1979)

RR by Stan Brakhage(1981)

Disorient Express by Ken Jacobs (1996)

The Georgetown Loop by Ken Jacobs (1996)

Two Roll , Camera Roll by Jon Behrens (2017)

Cayuga Run by Storm De Hirsch (1967)

Sphinx on the Seine by Paul Clipson (2009)

Bridges-Go-Round by Shirley Clarke (1958)

Night Driving by Mort & Millie Goldsholl (1957)

San Francisco by Anthony Stern (1968)

The Movement of Light At Night by Jon Behrens (1996)

City Walk by Bill Morrison (1999)

Bicycle by Chuck Hudina (1975)

Girl and a Bicycle by Jon Behrens (1995)

I My Bike by Ken Paul Rosenthal (2002)

Into the Mass (dual projection) by Tomonari Nishikawa (2007)

A Ticket Home by Dominic Angerame (1982)

Oasis by James Schneider (1995)

The Lost Films by Stan Brakhage (1995)

Tender Feet by Fern Silva (2013)

A Visit to Indiana by Ted Davis and Curt McDowell (1970)

Shift by Ernie Gehr (1974)

Passage by Ernie Gehr (2003)

Eureka by Ernie Gehr (1979)

September Express by De Hirsch, Storm (1973)

The Death Train by Bill Morrison (1993)

Ordinary Matter by Hollis Frampton (1972)

Acceleration by Scott Stark (1993)

Joe Dimaggio 1, 2, 3 by Anne McGuire (1991)

Runner by Bill Creston (1981)

Boston elevated by Ralph Thanhauser (1970)

[42nd St. footage] by Aldo Tambellini (1970)

Rules of the Road by Su Friedrich (1993)

Horizons by Larry Gottheim (1973)

Roam Sweet Home by Ellen Spiro (1996) – a documentary film



W dniu 22.07.2019 o 12:50, Bryan Konefsky pisze:
Hello all, I am in the process of building a program that looks at automobility 
and road movies from an experimental perspective... wondering if anyone has 
suggestions about artists' films that study this topic... Titles and links 
would be preferable and I am open to both historic and current works - if you 
have made something along these lines I would be happy to have the opportunity 
to view such films/videos as well.

thanks everyone
Bryan Konefsky
president, Basement Films
founder/director, Experiments in Cinema

Great art has always gone to the masses, to their hopes and dreams, for that 
spark that kindled their souls. The rest, "the many, all too many" as Nietzsche 
called mediocrity, have been mere commodities that can be bought with money, 
cheap glory, or social position.
- Emma Goldman



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Re: [Frameworks] film/art for the deaf

[Jorge Lorenzo Flores Garza]

Hello Dan!  Sounds like a very interesting class you'll be teaching.  I thought 
of a film by Antoni Pinent which uses Braille writing onto the film.  He marked 
the film with a Braille writing machine so that it created a bump on the 
acetate.  When run through the projector you see the markings but you also hear 
them bumping their way through the plate.  I know Braille is for the visually 
impaired, but I think it synesthetically pushes the audience to use other 
processes of perception.  I really don't remember the name of the film but I 
can provide his e-mail address if you need it.
I myself am teaching a class called Media Aesthetics and even though it started 
out as a theoretical course, I have taken it into other directions that involve 
physical activities that complement the content of the class.  Nothing fancy, 
just trying to bring out other learning procedures that are not limited to 
spoken language and audiovisual examples.  The results have been very 
interesting because the students learn the theory by delving into the very 
processes that developed the aesthetics we find within contemporary media.  
Maybe pushing the group into other ways of perception and learning could help.

Best,

Jorge Lorenzo



De: FrameWorks  en nombre de Dan 
Anderson 
Enviado: jueves, 23 de agosto de 2018 11:11 p. m.
Para: Experimental Film Discussion List
Asunto: [Frameworks] film/art for the deaf

Hey Film Folks,

I'm teaching a classic "Art Appreciation" course at a community college next 
semester, the first time I've taught college level or anything other than 
film/video production.

I was given notice that one of my students is completely deaf and will require 
any videos shown to a captioned. My first thought is that it will be exciting 
to show some Stan Brakhage, but I'm wondering if any other teachers have had 
experience with deaf students or could recommend materials that would appeal 
equally to hearing and non-hearing folks.

This is a required class for non-art students, but may ride heavily in the film 
and new media direction.. just because I won't be able to help myself ;)

thanks!
dan anderson
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Re: [Frameworks] Long takes and still images/ photography in experimental films

[Jorge Lorenzo Flores Garza]

Larry Gottheim's work.



De: FrameWorks  en nombre de 
graemeh...@irational.org 
Enviado: viernes, 9 de marzo de 2018 09:58 a. m.
Para: Experimental Film Discussion List
Asunto: Re: [Frameworks] Long takes and still images/ photography in 
experimental films


Whats long? ASL for industrial cinema ranges from 3 - 6 seconds, so a shot
of even 10 seconds would be double the average. The shot length possible
on a clockwork Bolex of about 20 seconds is common throughout the field you
are researching so are they normal or long? Does experimental cinema
materialogically deal with longer takes, so is there 'long' for exp'
cinema and long for 'narrative' cinema? The two being different. Does a
still frame copied thousands of times on a printer constitute a 'take'?
Does animation count as 'take based', ie Rhythmus 21 is a continuous flow
that is unified in the end as a take?

Sorry for all the questions.

I guess check out 'Motion(less) Pictures: The Cinema of Stasis (Film and
Culture Series)' by Justin Remes amongst probably loads of other good
books.


||
NACHLEBEN FILM LAB AND ARCHIVE
http://www.nachleben.org.uk
n a c h l e b e n – Experimental film lab and 
archive
www.nachleben.org.uk
I have finally, after what feels like 10 years (prob 10 years since acquiring 
this machine) but is […]



CUBE CINEMA. BRISTOL
http://www.cubecinema.com/
||

On Thu, 8 Mar 2018, Sebastian Wiedemann wrote:

> [7dd061b1eb7afcde9b6c43cda741479e5ff7e486.png?u=95490]
> Dear Frameworkers,
> I'm beginning a research about the presence of long takes and still 
> images/photography as expressive resources in the production of experimental 
> films.
> If anyone has in mind films that work with these procedures and can share 
> with me some titles, I will appreciate a lot.
> Best,
> Sebastian
>
> --
> Sebastian Wiedemann
> http://swiedemann.tumblr.com/
> http://wavesproject.tumblr.com/
> http://hambrecine.com/
>
>
>
>
> ‌[icon-signature.png] Sent with Mailtrack
>
>
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Re: [Frameworks] Experimental Films before 1910

[Jorge Lorenzo Flores Garza]

A lot of the early Emile Cohl films deliberately push technological boundaries. 
 There is one that I remember that handles morphing effects in faces very much 
in the fad of early digital motion graphics (like the typical Michael Jackson 
“Black or White” video).  I think the film is Les transfigurations from 1909, 
but I am not sure.  His whole ouvre is worth checking out.



Best



Enviado desde Correo para 
Windows 10




De: FrameWorks  en nombre de Francisco 
Torres 
Enviado: Wednesday, December 13, 2017 1:40:30 PM
Para: Experimental Film Discussion List
Asunto: Re: [Frameworks] Experimental Films before 1910

The films of Segundo De Chomon are worth a look.
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Re: [Frameworks] Jazz Music and Avant-Garde Film

[Jorge Lorenzo Flores Garza]

Also, Adam Rosen and John Creson do very interesting live visuals for Micheal 
Snow's and John Oswald's CCMC concerts up in Toronto nowadays.



De: FrameWorks  en nombre de Beebe, 
Roger W. 
Enviado: jueves, 9 de noviembre de 2017 04:34 p. m.
Para: Experimental Film Discussion List
Asunto: Re: [Frameworks] Jazz Music and Avant-Garde Film

I think I saw Michael Snow’s name invoked somewhere in this thread, but I don’t 
think anyone mentioned that he is himself a jazz musician.  I saw a show at 
Hallwall’s in Buffalo years ago where Snow where they included a piece called 
REVERBERLIN made of footage of a performance of his ensemble CCMC:

http://www.hallwalls.org/media-arts/4675.html
[http://www.hallwalls.org/main_images/logo_200.jpg]

Michael Snow - Beyond/In Western New York: Michael Snow - Film and Video - 
10/13/07
www.hallwalls.org
Beyond/In Western New York artist Michael Snow presents an evening of films and 
videos featuring: THE LIVING ROOM (2002); TRIAGE (2004, with Carl Brown and 
soundtrack by John Kamevaar); REVERBERLIN (2006, featuring CCMC -- an improv 
ensemble founded by Snow in 1974).



FYI,
Roger

On Nov 9, 2017, at 11:21 AM, Esperanza Collado 
mailto:esperanzacolla...@gmail.com>> wrote:

Hey Albert,

What a great thread! Did anyone mention Shirley Clark? Can't remember the title.

Also, some of the animated films of Suzan Pitt use jazz music. Asparagus for 
sure.

You may want to check Christopher McLain's works too... i could be wrong.

Will keep thinking...



El El jue, 9 nov 2017 a las 16:42, tanya g 
mailto:golde...@gmail.com>> escribió:
Albert,

Thank you for initiating this thread. I apologize if this was already mentioned 
but in my research I came across two others: Surprise Boogie (1956) direted by 
Albert Pierru and sponsored film Skyscraper by Clarke and Van Dyke from 1959, 
if memory serves.

Two non-avant garde that may be nonetheless of interest are:

Cry of Jazz (Ed Bland, 1959)
https://en.wikipedia.org/wiki/Cry_of_Jazz

Jammin' The Blues (1944)
https://www.youtube.com/watch?v=BIFJ81RIyVk





On Wed, Nov 8, 2017 at 3:13 AM, Albert Alcoz 
mailto:albertal...@gmail.com>> wrote:
Hello,

I was wondering about the connections between jazz music and avant-garde film 
after watching Bridges-Go-Round (1958) by Shirley Clarke, with the soundtrack 
version created by Teo Macero.

There should be plenty of avant-garde and experimental films where the 
soundtrack is instrumental jazz music. Maybe the field of Visual Music should 
be the most represented but i'm sure there are other films like the one by 
Michael Snow that uses, in this case, free jazz music or improvisation.

Does anyone remember some other avant-garde films with jazz soundtracks?

Right my list is as follows:

Begone Dull Care (1949) by Norman McLaren. Music by Oscar Peterson

Films No. 1 (1948) by Harry Smith. Music by Dizzy Gillespie

Chasse des Touches (1959) by Hy Hirsh. Music by Thelonious Monk

Catalog (1961) by John Whitney. Music by Ornette Coleman

New York Eye and Ear Control (1964) by Michael Snow. Music by Albert Ayler, Don 
Cherry, etc.

Thanks in advance,

Albert Alcoz


--
http://visionaryfilm.net/
http://albertalcoz.com/

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--
Esperanza Collado



www.esperanzacollado.net
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Re: [Frameworks] Titles on film

[Jorge Lorenzo Flores Garza]

Printing titles on paper Works really good.  You can shoot off the wall with 
lights or just outside under the shade.  You do spend a good amount of toner 
from the printer, but apart from that, it looks really good.

Enviado desde Correo para 
Windows 10

De: Jason Halprin
Enviado: lunes, 26 de junio de 2017 01:21 p. m.
Para: Experimental Film Discussion List
Asunto: Re: [Frameworks] Titles on film

In all seriousness, I've made basic titles in B&W, with fades in FCP & Premiere 
in HD/2K/4K. Then I've shot them off the monitor screen with either Super8 or 
16mm film, playing them back full-screen. Excellent results...if you get the 
camera centered and level.
-Jason Halprin

Jason Halprin
jihalp...@gmail.com
jasonhalprin.com

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Re: [Frameworks] looking for films, works of expanded cinema, web-based projects, and installations

[Jorge Lorenzo Flores Garza]

I suppose the Warhol still films and thus all of Gidal’s films are centered on 
the passing of time as real-time and not a representation of compressed time.

Enviado desde Correo para 
Windows 10

De: alena williams
Enviado: miércoles, 24 de mayo de 2017 07:32 p. m.
Para: Experimental Film Discussion List
Asunto: Re: [Frameworks] looking for films, works of expanded cinema, web-based 
projects, and installations

dear john,

i would recommend:


adrià julià, popcorn (2012), 90min


a feature length film capturing the eventual popping of a single kernel of 
corn... stunning


with best wishes,
alena

On 23.05.2017, at 03:13, John Muse mailto:jm...@sonic.net>> 
wrote:
Hive mind!  I’m beginning research on moving image media works that couple and 
complicate the relations between the following events, with an emphasis on the 
time they take: the time-of-the-profilmic-event, the 
time-of-the-recording-apparatus, the time-of-the-assembly-protocols, the 
time-of-the-display-apparatus, and the time-of-the-viewing-experience.

A mouthful, I know!  But these events are relatively autonomous, as we know, 
and ubiquitously so.  Time lapse, slow motion, closed-circuit works and delay 
systems, and even the simplest continuity edit, which purports to build a 
single event for the viewer out of disparate events before the camera, partake 
of this trouble.  But I’m looking for works that critically investigate and 
exploit these relations.  Man with the Movie Camera, of course and as usual, 
made all of these features explicit through undercranking, overcranking, 
animation, jumpcuts, cross-cutting times and spaces, superimpositions, 
split-screens, and the use of the movie house itself.

So many other works from the tradition of experimental film to consider.  
Things I already love: Ernie Gehr’s Serene Velocity, Nancy Holt’s Boomerang, 
and Ken Jacob’s Tom Tom and his Nervous Magic Lantern performances.  From the 
conceptual media side of the aisle: Bruce Nauman’s Live-Taped Video Corridor, 
Dan Graham’s tape delay works, Douglas Gordon’s 24 Hour Psycho, and many of 
David Claerbout’s works.

Help please!  I’m looking for other canonical materials, especially expanded 
cinema works, and more contemporary efforts, ones that split these relations 
even further: between image capture and image playback, there is processing, 
whether optical and analog or digital: compression schemes, datamoshing, and 
spline morphing, i.e., "bullet time" and other interpolation protocols.

Comments and clarifying questions appreciated.

j/PrM

*

john muse
visual media scholar
haverford college
he/him/his
http://www.finleymuse.com
http://www.haverford.edu/faculty/jmuse
http://haverford.academia.edu/JohnMuse

*



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Re: [Frameworks] Films that question truth

[Jorge Lorenzo Flores Garza]

Maybe someone already recommended this but here it goes.  Certainly one of my 
favorite films that deals very consciously with the idea of truth is Buñuel's 
"Las Hurdes".  Very early on, Buñuel is already questioning the expositive 
modality of documentaries in the tradition of "Nanook of the North" and plays 
around with the dormant position of the spectator who, without the slightest 
sense of doubt, places all its trust in the messages delivered by what sounds 
like an objective, all-knowing voice over.



De: FrameWorks  en nombre de todd 
eacrett 
Enviado: domingo, 7 de mayo de 2017 03:19 p. m.
Para: frameworks@jonasmekasfilms.com
Asunto: Re: [Frameworks] Films that question truth


Harald Hund's Empire of Evil:

http://www.sixpackfilm.com/en/catalogue/show/2329


On Fri, May 5, 2017 at 12:35 AM, Morgan Hoyle-Combs 
mailto:mhoyleco...@yahoo.com>> wrote:
Hello again everyone.

A while ago I asked about films that focused on the theme of lying. Recently I 
rewatched Man with a Move Camera (1929) and Megacities (1998) and both seemed 
to be examples of how the camera, or camera man, can alter the definition of 
truth in documentaries, that claim to present subject matter as truth. I know 
this is a vague set up and the topic of "truth" could be elaborated on for 
hours and hours. But. I'm just looking for films, docs and essays, that 
theorize the idea of truth and play with the audience's expectation. I've 
already been given F for Fake, David Holzman's Diary and Bleu Shut as examples 
from my last email. Is there any more out there?

Thanks

-Morgan
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Re: [Frameworks] Film-letters by experimental filmmakers

[Jorge Lorenzo Flores Garza]

oops!!  Here's the link:

https://www.youtube.com/watch?v=jv3va30pgY8

[https://i.ytimg.com/vi/jv3va30pgY8/hqdefault.jpg]<https://www.youtube.com/watch?v=jv3va30pgY8>

Paulino Ordóñez- Youth<https://www.youtube.com/watch?v=jv3va30pgY8>
www.youtube.com
A non-creative writing project.





De: FrameWorks  en nombre de Jorge 
Lorenzo Flores Garza 
Enviado: sábado, 12 de noviembre de 2016 09:29 p. m.
Para: Experimental Film Discussion List
Asunto: Re: [Frameworks] Film-letters by experimental filmmakers


Sebastian.  This here is nobody with a name in experimental filmmaking but just 
thought it'd be nice to share it.  My friend Paulino Ordóñez made a beautiful 
video collaging letters he got from his personal acquaintances while in high 
school over imagery shot around that time (early nineties) also by 
acquaintances.  The result is a personal melancholic statement on bygone 
teenage years; or better yet, on that which was never obtained during bygone 
teenage years.  Might be useful [😊]


Cheers


De: FrameWorks  en nombre de Anna 
Briggs 
Enviado: sábado, 12 de noviembre de 2016 05:41 p. m.
Para: Experimental Film Discussion List
Asunto: Re: [Frameworks] Film-letters by experimental filmmakers

Dear Sebastian,

You could investigate the 'filmed correspondence' between Victor Erice and 
Abbas Kiarostami:

http://mediation.centrepompidou.fr/education/ressources/ENS-erice-kiarostami/ENS-erice-kiarostami.html
VÍctor Erice / Abbas kiarostami : 
correspondance<http://mediation.centrepompidou.fr/education/ressources/ENS-erice-kiarostami/ENS-erice-kiarostami.html>
mediation.centrepompidou.fr
TROIS MOTS EN PRÉAMBULE. CORRESPONDANCE / CORRESPONDANCES Un double itinéraire 
/ deux cinéastes hors normes Il y a correspondance… … et correspondances.



Kind regards,

Anna Briggs
http://intru.hypotheses.org/les-chercheurs-2/doctorants/anna-briggs
Anna BRIGGS – InTRu – EA 
6301<http://intru.hypotheses.org/les-chercheurs-2/doctorants/anna-briggs>
intru.hypotheses.org
Créée en 2008 au sein de l'Université François-Rabelais à Tours, l'équipe 
d'accueil InTRu (Interactions, transferts et ruptures artistiques et culturels, 
EA ...



On 12 November 2016 at 18:19, Sebastian Wiedemann 
mailto:wiedemann.sebast...@gmail.com>> wrote:
Dear Frameworkers,
I'm editor and curator in Hambre<https://hambrecine.com/>, a Latin American 
magazine devoted to experimental cinema  and we are seeking to make an issue on 
the topic of Film-letters. Can you suggest the name of filmmakers that work in 
this line or have films of this kind and that perhaps have an interest in the 
ecological-environmental crises?
Thanks a lot for any clue,
Best,
Sebastian


--
Sebastian Wiedemann
http://swiedemann.tumblr.com/
http://wavesproject.tumblr.com/
http://hambrecine.com/





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Re: [Frameworks] Film-letters by experimental filmmakers

[Jorge Lorenzo Flores Garza]

Sebastian.  This here is nobody with a name in experimental filmmaking but just 
thought it'd be nice to share it.  My friend Paulino Ordóñez made a beautiful 
video collaging letters he got from his personal acquaintances while in high 
school over imagery shot around that time (early nineties) also by 
acquaintances.  The result is a personal melancholic statement on bygone 
teenage years; or better yet, on that which was never obtained during bygone 
teenage years.  Might be useful [😊]


Cheers


De: FrameWorks  en nombre de Anna 
Briggs 
Enviado: sábado, 12 de noviembre de 2016 05:41 p. m.
Para: Experimental Film Discussion List
Asunto: Re: [Frameworks] Film-letters by experimental filmmakers

Dear Sebastian,

You could investigate the 'filmed correspondence' between Victor Erice and 
Abbas Kiarostami:

http://mediation.centrepompidou.fr/education/ressources/ENS-erice-kiarostami/ENS-erice-kiarostami.html
VÍctor Erice / Abbas kiarostami : 
correspondance
mediation.centrepompidou.fr
TROIS MOTS EN PRÉAMBULE. CORRESPONDANCE / CORRESPONDANCES Un double itinéraire 
/ deux cinéastes hors normes Il y a correspondance… … et correspondances.



Kind regards,

Anna Briggs
http://intru.hypotheses.org/les-chercheurs-2/doctorants/anna-briggs
Anna BRIGGS – InTRu – EA 
6301
intru.hypotheses.org
Créée en 2008 au sein de l'Université François-Rabelais à Tours, l'équipe 
d'accueil InTRu (Interactions, transferts et ruptures artistiques et culturels, 
EA ...



On 12 November 2016 at 18:19, Sebastian Wiedemann 
mailto:wiedemann.sebast...@gmail.com>> wrote:
Dear Frameworkers,
I'm editor and curator in Hambre, a Latin American 
magazine devoted to experimental cinema  and we are seeking to make an issue on 
the topic of Film-letters. Can you suggest the name of filmmakers that work in 
this line or have films of this kind and that perhaps have an interest in the 
ecological-environmental crises?
Thanks a lot for any clue,
Best,
Sebastian


--
Sebastian Wiedemann
http://swiedemann.tumblr.com/
http://wavesproject.tumblr.com/
http://hambrecine.com/





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Re: [Frameworks] Exemplary Sound Design in AG Film

[Jorge Lorenzo Flores Garza]

My Name is Oona by Gunvor Nelson


From: peter.mu...@uwa.edu.au
To: frameworks@jonasmekasfilms.com
Date: Tue, 17 May 2016 12:58:02 +0800
Subject: Re: [Frameworks] Exemplary Sound Design in AG Film


Mike Leggett’s VISTASOUND (1981) – superb.Peter(Perth)
From:  FrameWorks  on behalf of lindsay 
mcintyre 
Reply-To:  Experimental Film Discussion List 
Date:  Tuesday, 17 May 2016 12:35 pm
To:  Experimental Film Discussion List 
Subject:  Re: [Frameworks] Exemplary Sound Design in AG Film

How about Very Nice, Very Nice (1961) by Arthur Lipsett?
Lindsay McIntyre


On Mon, May 16, 2016 at 10:02 PM, Ruth Hayes  wrote:
Real West by Kevin T. Allen. He uses contact mics, among other strategies. He 
has an excerpt on vimeo: https://vimeo.com/130916538
Ruth Hayes
http://www.randommotion.comblogs.evergreen.edu/hayesr
On May 15, 2016, at 12:36 PM, lagonaboba wrote:
For a class I’m preparing, I’m interested in suggestions as to Experimental 
Films with exemplary, excellent sound design and sound editing.By excellent I 
mean, complex, layered, inventive, of rich and nuanced timbre….excellent for 
it’s sonic qualities (as opposed to strictly intellectual qualities).As I plan 
to rent prints, it would be helpful if the works were available from FMC, 
Canyon, MOMA or some USA domestic distributor.I would include:
Baillie’s Castro Street  & Quick Billy, Kubelka’s Unsere Afrikareise, Hindle’s 
WatersmithJack Chambers’ Hart of London
Thanks.

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Re: [Frameworks] Black Leader

[Jorge Lorenzo Flores Garza]

I believe Niagara Custom Lab in Toronto can make black leader.

Date: Wed, 9 Mar 2016 14:21:09 -0500
From: mbill...@gmail.com
To: frameworks@jonasmekasfilms.com
Subject: Re: [Frameworks] Black Leader

That's cool, I did not know that MPE is Kodak. How interesting! I did buy 1000' 
of black leader I believe in December 2015 and Mac said they had a whole bunch 
of it still. I made a big deal about how I was searching all around for it, and 
he seemed surprised by my near panic state.
mary
On Wed, Mar 9, 2016 at 2:17 PM, Scott Dorsey  wrote:
MPE is Kodak.  I believe they have discontinued the long-perf black leader.

--scott

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-- 





www.marybillyou.com


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Re: [Frameworks] Films about glass and light

[Jorge Lorenzo Flores Garza]

A Lecture by Hollis Frampton

> Date: Tue, 2 Feb 2016 21:00:24 -0600
> From: patrick.fr...@att.net
> To: frameworks@jonasmekasfilms.com
> Subject: Re: [Frameworks] Films about glass and light
> 
> GLASS HOUSE (2005) - Chi Jang Yin
> 
> http://www.chijangyin.com/video/glasshouse.php
> 
> 
> 
> 
> On 2/2/16 8:19 PM, "Sheri Wills"  wrote:
> 
> > Hello Everyone,
> 
> As part of a celebration of the 50th anniversary of the glass
> > department at RISD for next year, we are beginning to plan a series of
> > screenings of (mostly experimental) films that engage with materials, ideas,
> > experiences of glass and/or light - materially, abstractly, physically,
> > metaphysicallyŠ..
> 
> We are planning a projection of Line Describing a Cone, and
> > a screening of Text of Light. The preliminary long list includes 
> > Moholy-Nagy¹s
> > films, Tacita Dean¹s Green Ray, and the 1959 industrial film, Glas, by Bert
> > Haanstra.
> 
> It would be wonderful to hear thoughts from this group.
> 
> Many
> > thanks in 
> > advance,
> Sheri
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> > nfo/frameworks
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> 
> 
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Re: [Frameworks] Experimental film/video from COLUMBIA S.A.?

[Jorge Lorenzo Flores Garza]

Also, Jorge Lozano (not to be confused with me, Jorge Lorenzo) is a Colombian 
living in Toronto and has many contacts with people like Andrés García la Rota 
who runs Plataforma in Bogota.  Jorge Lozano used to run the Alucine Festival.
Also consider Andrés Jurado (Colombian) and Enrico Mandirola (Italian living in 
Colombia).  They both work on a series of workshops to generate contemporary 
experimental film in Bogotá.  
In another more narrative line, but very personal and uncompromising is the 
work of Dairo Cervantes.  His work is low-budget and poetic, very effective.  
He's been lately working with puppets and is now doing a docu-lie (as he calls 
it) about the puppeteer who works on his films.
Finally, if anyone is interested in research on all sorts of film, ranging from 
experimental to commercial to whatever you can think of, Augusto Bernal at 
Black Maria Film School in Bogota is a key figure.  He is acquainted with the 
history of film in Bogotá and its makers.
Diana González, no living in Mexico City published a really good book on the 
Caliwood film scene that emerged in the seventies (as Ospina, Mayolo, and 
Caicedo where already mentioned).
Hope this helps!

Date: Mon, 28 Dec 2015 08:47:08 +0100
From: lenadi...@gmail.com
To: frameworks@jonasmekasfilms.com
Subject: Re: [Frameworks] Experimental film/video from COLUMBIA S.A.?

Hey David,

If ex-pats count, one half of Ojoboca (Juan David González Monroy) is from 
Colombia, currently working in Berlin. Their film Gente Perra (2014) is based 
in part on a story by a Colombian author and makes reference to aspects of the 
culture there particularly regarding European colonization of South America. 
Might fit the bill if you're not limited to a strictly historical program.

Best,
R

On Sun, Dec 27, 2015 at 6:52 PM, Caroline Gil  wrote:
Hi David,
To add to the list of suggestions, La Langosta Azul 
(https://youtu.be/lYfGQ-jw-TI) would be a great addition. All of Luis Ospina 
and Carlos Mayolo’s work is fantastic, in particular their amazing documentary 
on writer Andrés Caicedo; Unos pocos buenos amigos 
(https://youtu.be/hmPyyIw7rCM). Víctor Gaviria has made some interesting 
fiction work, El Vagón Rojo comes to mind. As well as Jorge Silva and Marta 
Rodríguez, their most well-know documentary is called Chircales. Artists to 
consider on the videtart front would be Rodrigo Castaño, Sandra Isabel Llano, 
Gilles Charalambos. You could expand on your search with these 
organizations:http://www.bibliotecanacional.gov.co/content/cine-experimentalhttp://www.patrimoniofilmico.org.co/anterior/index1.htmhttp://www.proimagenescolombia.com/index.php
Good luck on your search!
On Dec 27, 2015, at 5:49 PM, FCO. JAVIER HURTADO MOMPEO  wrote:
one of the most experimental "classic" colombian films its called "Agarrando 
pueblo" directed by Carlos Mayolo and Luis Ospina. Luis Ospina is still alive. 
Marta Rodriguez (anthropologist and filmmaker, still alive too) on the other 
hand is another key figure in the documentary engaged in social (indigenous) 
issues.

De: FrameWorks [frameworks-boun...@jonasmekasfilms.com] en nom de David Sherman 
[davidgatessher...@gmail.com]
Enviat el: diumenge, 27 / desembre / 2015 21:01
Per a: frameworks@jonasmekasfilms.com
Tema: [Frameworks] Experimental film/video from COLUMBIA S.A.?

Greetings,We have a young video artist from Columbia S.A.  visiting Exploded 
View in a couple of weeks and I was looking for any recommendations of any 
works (are there any classics?) of Columbian experimental film/video that we 
might show to round out the bill. I am unfamiliar with works from here and 
searching for "Columbia and experimental film" ends up w/ a million links 
Columbia College & Columbia University and the other N.A Columbias...

I did find this organization http://cineautopsia.com/ , but wanted any 
Frameworks recommendations if they exist.
Best New Years wishes from Exploded View, David
-- 
David Sherman
Exploded View MicrocinemaTucson, AZ 
520-366-1573www.explodedviewgallery.orgwww.davidshermanfilms.comAquest correu 
electrònic i els annexos poden contenir informació confidencial o protegida 
legalment i està adreçat exclusivament a la persona o entitat destinatària. Si 
no sou el destinatari final o la persona encarregada de rebre’l, no esteu 
autoritzat a llegir-lo, retenir-lo, modificar-lo, distribuir-lo, copiar-lo ni a 
revelar-ne el contingut. Si heu rebut aquest correu electrònic per error, us 
preguem que n’informeu al remitent i que elimineu del sistema el missatge i el 
material annex que pugui contenir. Gràcies per la vostra col·laboració. 

Este correo electrónico y sus anexos pueden contener información confidencial o 
legalmente protegida y está exclusivamente dirigido a la persona o entidad 
destinataria. Si usted no es el destinatario final o la persona encargada de 
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copiarlo ni a revelar su contenido. Si ha recibido este mensaje ele

Re: [Frameworks] The eye in experimental cinema

[Jorge Lorenzo Flores Garza]

Tscherkassky's "Outer Space" also has a very interesting reference to the 
Vertovian eye.  The outerspace of the medium watching the narrative, perhaps.

From: ryder.wh...@gmail.com
Date: Sat, 31 Oct 2015 13:07:23 -0600
To: angel...@cuevas.as
CC: frameworks@jonasmekasfilms.com
Subject: Re: [Frameworks] The eye in experimental cinema

Thanks all, these are great!

Best,

R

On Sat, Oct 31, 2015 at 8:09 AM, Angélica Cuevas Portilla  
wrote:


Hi Ryder,

Here you have an excellent film from mexican filmmaker Andrés Garcìa Franco

https://myspace.com/kinoandres/video/black-hole/53608351

 

Greetings,

Angélica

 

---

Angélica Cuevas Portilla
Mex-Parismental
4, rue Mathis
75019 Paris
France
+33-6-64 24 09 10
@MexParismental
https://www.facebook.com/MexParismental
http://mex-parismental.blogspot.com
***
-17th Festival des Cinémas Différents de Paris
 http://www.cjcinema.org
07-18 Oct 2015 
  Festival Trailer : https://vimeo.com/138882009



On 2015-10-29 21:38, Ryder White wrote:




Hello Frameworkers,


I am currently embarked on designing an installation the draws on cinematic 
instances of the human eye and, as I write about it, I'm interested in finding 
examples of the eye as a major symbolic device, particularly in the realm of 
experimental and avant-garde cinema. I can think up a couple of examples...Man 
With The Movie Camera, for instance, or Un Chien Andalou, but I'd be happy to 
hear of other such appearances.


If it helps narrow the (admittedly broad) field, of particular interest are 
examples where the eye is used to refer to the cinematic apparatus itself, or 
the camera's voyeur qualities.


Thanks in advance!


Ryder



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Re: [Frameworks] The eye in experimental cinema

[Jorge Lorenzo Flores Garza]

Paul Sharits' T,O,U,C,H,I,N,G certainly references Un Chien Andalou and the 
idea of the cut as a violent assault on the eye.  I think both films actually 
mock the Kuleshov effect by actually presenting the slash one way or another.  
Un Cien Andalou doesn't stop the cutting after the cloud slashes the moon and 
Sharits yuxtaposes the cut when both images run frantically one after the other 
at 24 frames per second.



> From: john.sundh...@ims.su.se
> To: frameworks@jonasmekasfilms.com
> Date: Thu, 29 Oct 2015 21:24:32 +
> Subject: Re: [Frameworks] The eye in experimental cinema
> 
> Guy Sherwin's series of eye-films
> Olle Hedman's Coca strip
> 
> 
> 
> > 29 okt. 2015 kl. 21:39 skrev Ryder White :
> > 
> > Hello Frameworkers,
> > 
> > I am currently embarked on designing an installation the draws on cinematic 
> > instances of the human eye and, as I write about it, I'm interested in 
> > finding examples of the eye as a major symbolic device, particularly in the 
> > realm of experimental and avant-garde cinema. I can think up a couple of 
> > examples...Man With The Movie Camera, for instance, or Un Chien Andalou, 
> > but I'd be happy to hear of other such appearances.
> > 
> > If it helps narrow the (admittedly broad) field, of particular interest are 
> > examples where the eye is used to refer to the cinematic apparatus itself, 
> > or the camera's voyeur qualities.
> > 
> > Thanks in advance!
> > 
> > Ryder
> > ___
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> > FrameWorks@jonasmekasfilms.com
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Re: [Frameworks] Experimental Animated Documentaries

[Jorge Lorenzo Flores Garza]

There is a very interesting Mexican short animated film made by Adriana Bravo 
and Andrea Robles called "Microftalmia" from 2005 I think.  It is a depiction 
of the mind of Benjamín, a real-life character who suffers from brain 
malformation, autism, and a condition called microftalmia which causes 
retinal/ocular anomalies.  The imagery of the film is created from the 
soundtrack which tries to interpret Benjamin's emotional and perceptual 
experiences by incorporating sounds he himself produces and those from the real 
world that fascinate him one way or another.


Date: Thu, 29 Oct 2015 01:04:49 +0100
From: elenadu...@gmail.com
To: frameworks@jonasmekasfilms.com
Subject: Re: [Frameworks] Experimental Animated Documentaries

Hello, Andy
I curated this program on animated non fiction last year for Seville Film 
Festival:

http://festivalcinesevilla.eu/en/previous-editions/2014-edition/film/cycle-the-missing-image
I made a slightly different version a few months later for Filmadrid, this time 
with a couple of non-European filmmakers (Seville is an European film 
festival). I added some works by Jeff Scher, who I consider a terrific example 
of animated non fiction in his diaristic pieces. Even works like Fuji, or Buoys 
and Gulls, by Breer, can be considered non fiction, in the sense of  diaries or 
animated domestic films, if such thing exists.

I hope this may help!

Greetings from Spain,

Elena 
El 28/10/2015 18:01,   escribió:
Oh, and there is the more-recent and rather tremendous

"ownerBuilt" by Lawrence Andrews.  We showed it at Filmforum in April;

he's at UC Santa Cruz. It hasn't been shown enough.



> Some years ago I figured out a set of shows of animated documentaries.

> Not all adhere to your "non-narrative structures" request, and this is

> more than five years old, but here are some, and you can argue over my

> classification of them as docs as well (some distribution notes from my

> working document are still here)

>

> “Talking About Amy” by Yurico Murakami (200?, 8:20, USA/Japan) – video

> from USC

> “Backseat Bingo” by Liz Blazer (2003, 5:25, USA)

> “Repetition Compulsion” by Ellie Lee (1997, 7 min., 35mm, USA)

> Excerpt from “The Kid Stays in the Picture” by Nanette Burstein and

> Brett

> Morgen (2002, 93 min, US)

> “McLaren’s Negatives” by Marie-Josee Saint Pierre (2006, 11 min.,

> Canada)

> “Conversation with Haris” by Sheila Sofian (2001, 6 min, 16mm, USA) –

> print from Sheila

> “The Beloved Ones” by Samantha Moore (2007, 6 min, UK) - Big Film Shorts

> distributor

>  “Mouseholes” by Helen Hill (1999, 16mm, USA) – portrait of grandfather

> –

> print from Harvard Film Archive

> “Uncle Ma’an” by Sahar Alsawaf (2007, 4 min, video, USA/Iraq) – video

> from

> Sahar

> “The Even More Fun Trip” by Bob Sabiston (2007, 20:45, video, USA) –

> video

> from Bob Sabiston

> “The Sinking of the Lusitania” by Winsor McCay (1916, 12 min, USA.)

> “Enter Life” by Faith Hubley (1982, 6 min., USA, for Smithsonian Natural

> History museum) –

> Adventures in Music: Toot, Whistle, Plunk and Boom! (1953, 10 min., Disney

> Studios)

> “The Velvet Tigress” by Jen Sachs (2001, 11 min, 16mm, USA) – print

> from Jen

> Excerpt from “Shay’s Rebellion – America’s First Civil War” by R.J.

> Cutler, animation by Bill Plympton (2004, 45 min, video, USA) – video

> from

> Actual Reality

> “Forest Murmurs” by Jonathan Hodgson (2006, 12:30, UK)

> ‘Success with Sweetpeas” by Samantha Moore (2006, 6:30, UK) – Big Film

> Shorts distributor

>  “Hidden” by David Aronowitsch and Hanna Heilborn (2002, 8 min., video,

> Sweden)

> “Men in Black” segment from Operation Homecoming: Writing the Wartime

> Experience, by Richard Robbins (2007, 6 min., from video, USA)

> “His Mother’s Voice” by Dennis Tupicoff (1997, 15 min, 35mm, Australia)

> “Never like the First Time” by Jonas Odell (2005, 14:30, video, Sweden)

> –

> video on Wholphin #3

>  “The Moon and the Son” by John Canemaker (2004, 28 min, USA)

> “The Darra Dogs” by Dennis Tupicoff (1993, 10 min, Australia)

> “My Universe, Inside Out” by Faith Hubley (1996, 25 min, USA)

> “Passages’ by Marie-Josee Saint Pierre (2008, 25 min, Canada)

> “Doubled Up” by Samantha Moore (2004, 6:30, UK)

>  “It’s Like That” by the Southern Ladies Animation Group (2003, 7:15,

> Australia)

> “Silence,” by Sylvie Bringas and Orly Yadin (1998, 11 min, UK)

>  “Survivors” by Sheila Sofian (1997, 16 min, USA) – women survivors of

> abuse

> “Grasshopper” by Bob Sabiston (2003, 14 min, USA) – portrait of Indian

> man

> giving life wisdom

>  “Last Words of Dutch Schultz” by Gerrit van Dijk (2003, 24 min,

> Netherlands)

> “Slaves” by David Aronowitsch and Hanna Heilborn (2008, 15 min., Sweden)

> “Guy 101” by Ian Gouldstone (2005, 9 min, UK) – no reply yet

> Aardman films?

> “Pro/Con” by Joanna Priestly

> “Troubled Minds,” by Andy Glynne (12 min, UK) – or “A

Re: [Frameworks] New website

[Jorge Lorenzo Flores Garza]

Sorry, here's a direct link

http://jorgelorenzocine.mx/



From: jorgelore...@hotmail.com
To: frameworks@jonasmekasfilms.com
Date: Sun, 27 Sep 2015 07:13:30 +
Subject: [Frameworks] New website




For anyone interested in watching and reading about my work, here's my new 
website:

jorgelorenzocine.mx
  

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[Frameworks] New website

[Jorge Lorenzo Flores Garza]

For anyone interested in watching and reading about my work, here's my new 
website:

jorgelorenzocine.mx
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Re: [Frameworks] Is there any editing pattern on "Critical Mass" by Hollis Frampton?

[Jorge Lorenzo Flores Garza]

I just tried this software!  It is really interesting!!

> Date: Wed, 22 Apr 2015 17:01:49 -0400
> From: direc...@lift.on.ca
> To: frameworks@jonasmekasfilms.com
> Subject: Re: [Frameworks] Is there any editing pattern on "Critical Mass" by 
> Hollis Frampton?
> 
> Barbara Lattanzi created a software that mimicked the editing structure of
> Critical Mass:
> http://www.wildernesspuppets.net/yarns/hfcriticalmass/main.html
> 
> I'm not sure if she based in on the actual "source code" of the original
> film or just made a representation of the experience.
> 
> C
> 
> 
> >> Watching the film one could assumed Frampton followed a random process
> >> but i'm not sure about it.
> >
> > It's not random at all. IIRC, both the length of all the cuts and the
> > advance between cuts are numbers of frames with some 'significance', e.g.
> > I think the shots may all be ~ 40 frames / 1 foot. Frampton worked with
> > algorithms, not randomness, but as a form of 'poetry'. Thus, a certain
> > percentage of the 'art' is rooted in the nature of the algorithm, which is
> > derived in part from certain non-obvious poetic associations...
> >
> > ...
> >
> > For another example: I can't recall reading anything about (nostalgia)
> > that references the length of the shots. So one time I screened it for
> > class, I timed them roughly with simple stopwatch. My conclusion: each
> > shot is a 100 ft. load (I didn't examine close enough to see if they were
> > loaded on daylight spools, with the light leaks at the ends then cut off,
> > or loaded/unloaded on cores in absolute darkness minus just threading
> > leader, etc.).
> >
> > This is not only a sort of obvious and convenient practical way to do the
> > film, it also has resonances with the subject matter of Frampton giving up
> > one art form and adopting another, memory and loss, etc. The prints burn
> > on the hotplate until the film runs out. Any camera only holds so much,
> > for so long. Etc.
> >
> > ...
> >
> > Also of note: working by hand in 'analog' media, Frampton was not
> > ultra-picky about hitting any of his patterns EXACTLY all the time. Things
> > will be off a frame or two here or there (and no matter how you load them,
> > different 100 ft. loads of 16mm stock will yield slightly different
> > lengths of usable footage). Apparently, this was not just the result of
> > pragmatic 'accident' either, and Frampton introduced some of the minute
> > deviations intentionally, perhaps keeping his 'human' hand in the game
> > (?).
> >
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Re: [Frameworks] What are the 3 Essential Films that you would show Artists on their first foray into the Moving Image Realm ?

[Jorge Lorenzo Flores Garza]

I would certainly add Marie Menken to this names.  It is so important nowadays 
in the world of selfies and Go-Pro footage we find in the web.


Jorge L.



Enviado con Correo de Windows



De: o...@thenowcorporation.com
Enviado el: ‎sábado‎, ‎28‎ de ‎marzo‎ de ‎2015 ‎11‎:‎22‎ ‎a. m.
Para: Experimental Film Discussion List


I AM a feminist, and 
here are three essential films, that answer the question"











'What are the 3 Essential Films that you would show Artists on their first 
foray into the Moving Image Realm ?' 

Maya Deren  
Meshes of the Afternoon


Mary Ellen Bute

Polka Graph


Shirley Clarke 

Bridges Go-Round



Owen's iphone




On Mar 28, 2015, at 9:01 AM, Cari Machet  wrote:





no no only white men make important work 



why is a very old work of a woman the only woman filmmaker being hailed here




peggy ahwesh anyone? https://vimeo.com/user2889626




and there are tons of euro ones fuck do we need a comprehensive list of woman 
filmmakers posted somewhere on the net to point to when this shit happens? 
wikipedia?




i am no feminist but this seems really bad



On Sat, Mar 28, 2015 at 1:10 PM, Kim Knowles  
wrote:




The problem with this list, as is often the case, is that women filmmakers are 
written out of the 'canon'. Please include Maya Deren! (as per Vicky Smith's 
post)




 
From: FrameWorks  on behalf of Gene 
Youngblood 
Sent: Friday, March 27, 2015 6:56 PM
To: Frameworks Listserv
Subject: Re: [Frameworks] What are the 3 Essential Films that you would show 
Artists on their first foray into the Moving Image Realm ? 
 



Three is a severe limitation, but if you insist, one way to get at it is to 
start not with films but with major traditions since mid-century and select 
exemplary works within them. So for example abstract (Brakhage), minimalist 
(Warhol, Wavelength), essayistic (Marker, Farocki, Forgacs). I include 
Brakhage’s lens-captured films in the problematic “abstract." 










On Mar 27, 2015, at 11:43 AM, Donal OCeilleachair  wrote:




Dear Frameworkers:




I am working on a new film project with the Ealaíontóirí Mhuscraí 

(that's Irish for the Muskerry Region Artists Group) 




Part of the project will involve film / video making workshops where I will show

them works from experimental film, creative documentary and artists' moving 
image works

as a point of reference and inspiration for their own initial explorations

into the realm of the moving image




I am compiling a short-list of 'Essential' works to show them during these 
workshops 

and I would appreciate responses to the question:

'What are the 3 Essential Films that you would show Artists 

on their first foray into the Moving Image Realm ?'




I look forward to hearing any suggestions




Le míle buíochas (with many thanks)


-- 


Dónal Ó'Céilleachair
www.anupictures.com



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Re: [Frameworks] Optical sound - Structural film

[Jorge Lorenzo Flores Garza]

Synchromy by Norman McLaren is a great example.  He photographed printed cards 
that went both on the sound space and the visual space of the film.  And check 
out all the series of tests he made for similar experiments.  You can find them 
in the DVD box set of his work.

For more recent work:
-Apollo by Tom Nishikawa is great.  He shoots high-contrast pictures on 16mm by 
using a 35mm camera to cover the whole 16mm strip with images.  He has some 
other pinhole films that work on a similar dynamic.

-TB TX Dance by Roger Bebee is also a great piece that ironically synchs visual 
sound with image.


To: frameworks@jonasmekasfilms.com
Date: Wed, 11 Feb 2015 08:10:25 -0500
From: nicky.ham...@talktalk.net
Subject: Re: [Frameworks] Optical sound - Structural film

Lis Rhodes: Light Music for two projectors facing each other. It's very intense!



Nicky.



 






 






 






-Original Message-


From: Amanda Christie 


To: Experimental Film Discussion List 


Sent: Wed, 11 Feb 2015 13:00


Subject: Re: [Frameworks] Optical sound - Structural film















Norman McLaren made several films by animating directly onto the optical track.

There is even a short documentary of him doing this in the film called "Pen 
Point Percussion" where they film him working on a film called "Dots"



You can view his work online on the National Film Board website: 
https://www.nfb.ca/explore-all-directors/Norman-McLaren/










Is there a reason that you're keeping it to the 60s and 70s?










I can think of other artists, such Richard Reeves, as well as myself, who have 
done work directly on optical tracks in the last 20 years.










adc


































Amanda Dawn Christie







506-871-2062



www.amandadawnchristie.ca



ama...@amandadawnchristie.ca



___



























On 2015-02-11, at 7:02 AM, Peter Mudie wrote:






Rarely discussed, but a fantastic film – one of the best from the LFMC.



Peter



(Perth)










From:  Pip Chodorov 


Reply-To:  Experimental Film Discussion List 


Date:  Wednesday, 11 February 2015 6:31 pm


To:  Albert Alcoz , Experimental Film Discussion List 



Subject:  Re: [Frameworks] Optical sound - Structural film

















There's "Ten Drawings" by Steve Farrer (1976)



http://lightcone.org/fr/film-477-10-drawings

















At 8:46 + 11/02/15, Albert Alcoz wrote:

Does anybody know structural or structural-materialist or minimal/abstract 
films from the sixties or seventies where the sound of the film comes directly 
from the graphic treatment on the
 optical sound area of the celluloid?






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Re: [Frameworks] loop printing at lab

[Jorge Lorenzo Flores Garza]

Sorry, sorry...spelling mistake.  I meant to say I am sure Niagara DOES too 
(loop printing).

To: frameworks@jonasmekasfilms.com
Date: Tue, 3 Feb 2015 12:20:36 -0500
From: nicky.ham...@talktalk.net
Subject: Re: [Frameworks] loop printing at lab

What does that mean? I have work at Niagara! Can anyone shed light on this?



Nicky.



 






 






 






-Original Message-


From: Jorge Lorenzo Flores Garza 


To: Experimental Film Discussion List 


Sent: Tue, 3 Feb 2015 16:56


Subject: Re: [Frameworks] loop printing at lab




















I am pretty sure Niagara dies too.







Date: Mon, 2 Feb 2015 20:14:12 -0500


From: sasha.jane...@gmail.com


To: frameworks@jonasmekasfilms.com


Subject: [Frameworks] loop printing at lab







Anyone out there know of a lab that would do some loop printing at a reasonable 
price? Fotokem? Niagara?








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Re: [Frameworks] Looking for films made in "THE OTHER"

[Jorge Lorenzo Flores Garza]

Rosario Sotelo, Mexican-American in San Francisco has some great films.

Date: Mon, 2 Feb 2015 13:37:28 +0100
From: lenadi...@gmail.com
To: frameworks@jonasmekasfilms.com
Subject: [Frameworks] Looking for films made in "THE OTHER"

Hi Everybody --

I am looking for films made by women and made "in the other", meaning in 
another country, in another society, another world; trying to cope with the 
occuring differences or the attempt to establish new, fictional narratives in 
order to counter the expierienced "other". 

I am putting together a program that will be titled " The Other; I." for an 
off-space in Copenhagen, Denmark and would love to show recently produced 
pieces...


Looking forward to your suggestions!

Alle the best, 
Lena


www.lenadittenissen.com


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Re: [Frameworks] loop printing at lab

[Jorge Lorenzo Flores Garza]

I am pretty sure Niagara dies too.

Date: Mon, 2 Feb 2015 20:14:12 -0500
From: sasha.jane...@gmail.com
To: frameworks@jonasmekasfilms.com
Subject: [Frameworks] loop printing at lab

Anyone out there know of a lab that would do some loop printing at a reasonable 
price? Fotokem? Niagara?


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[Frameworks] Canon Super 8 damaged

[Jorge Lorenzo Flores Garza]

Hello everyone.  I have a Canon 518 Super 8 camera that just stopped working.  
It started going slower and slower, as if batteries ran out.  But it is not the 
batteries.  Does anybody know what might be the problem and how to fix it?  I 
appreciate any hints.

Thanks a lot,
Jorge Lorenzo   
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Re: [Frameworks] lab for painted film

[Jorge Lorenzo Flores Garza]

Sebastjan Henrickson at Niagara Custom Lab in Toronto will print anything and 
with great quality.

> From: z...@sonic.net
> Date: Fri, 31 Oct 2014 22:17:02 -0700
> To: frameworks@jonasmekasfilms.com
> Subject: Re: [Frameworks] lab for painted film
> 
> Are there any labs that will still make a 16mm color  inter negative from 
> hand painted original? Nothing flaky about the paint and some is just scene 
> toning.
> 
> Myron Ort
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Re: [Frameworks] PHD programs

[Jorge Lorenzo Flores Garza]

I am researching schools too and I found an interesting list:
http://www.jameselkins.com/yy/?page_id=305

In the list, there are some schools you might want to check, especially 
Belgrade...I just saw a great program of experimental films from Belgrade at 
Experiments in Cinema, Albuquerque, I am sure your topic will be welcomed there:
Estonian Academy of Arts (EAA), Tallinn
University of Arts in Belgrade, Interdisciplinary Studies
National University of the Arts Bucharest, Universitatea Nationala de Arte 
Bucuresti

Also, Austria has two good schools:
Akademie der bildenden Künste / Academy of Fine Arts, Vienna
University of Applied Arts Vienna, Universität für Angewandte Kunst

Goof luck!! 

Date: Sun, 10 Aug 2014 16:35:10 +0200
From: dorottya.sza...@artincinema.com
To: frameworks@jonasmekasfilms.com
Subject: [Frameworks] PHD programs

Hi Frameworkers,

I am looking for PHD programs in film and visual studies (in English). I am 
from Hungary, currently based in Prague (AVU, FAMU). My research focuses on 
Eastern-Central-European avant-garde film. I found some programs but I would 
appreciate your suggestions. 

Thanks a lot!

Dorottya

  Dorottya Szalay
  dorottya.sza...@artincinema.com
  www.artincinema.com
  www.kontracinema.com  CZ: + 420 739 119 584
  HU: + 36 70 359 9223







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Re: [Frameworks] Looking for films about the radio and on air diffusion

[Jorge Lorenzo Flores Garza]

I was thinking that Vertov's Enthusiasm is more about recording, but I am sure 
his sound experiments there can relate to the topic.

Date: Fri, 9 May 2014 11:28:21 -0700
From: steve.po...@gmail.com
To: frameworks@jonasmekasfilms.com
Subject: Re: [Frameworks] Looking for films about the radio and on air  
diffusion

some of these have been mentioned but here are a few...

Ernie Gehr: Signal—Germany on the Air
Steven Matheson: Apple Grown in Wind Tunnel

Greta Snider: The Magic of Radio
Craig Baldwin: Spectres of the Spectrum
Josh Gibson: Kudzu Vine
Peggy Ahwesh: 73 Suspect Words (and her audio project with Barbara Ess, Radio 
Guitar)


See Also: various radio transmission projects of filmmaker Deborah Stratman 
(http://www.pythagorasfilm.com/nonfilmwork.html) as well as her film Village, 
silenced.



On Thu, May 8, 2014 at 9:59 AM, Julia Gouin  wrote:

Dear all, 


I am looking for films and videos that deal either thematically or technically 
with the idea of radio and radio diffusion. 

Any titles that come to your mind? 

Many thanks in advance for your thoughts


Julia Gouin
   
Administratrice 

ATTENTION / / NOUVELLE ADRESSE / / 








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Re: [Frameworks] Looking for films about the radio and on air diffusion

[Jorge Lorenzo Flores Garza]

Jesse Lerner's "T.S.H." is a wonderful cutup film-sound piece that uses an old 
avant-garde Mexican poem by Kyn Tanilla from the 20's that talks about the 
first radio transmission in Mexico.

Date: Thu, 8 May 2014 16:47:47 -0400
From: fjtorre...@gmail.com
To: sarahjbro...@yahoo.ie; frameworks@jonasmekasfilms.com
Subject: Re: [Frameworks] Looking for films about the radio and on air  
diffusion

2 early films TV as an abject object. Which it is... Proto Videodrome.Murder by 
Television (1930s)The Twoonky (1950s)

On Thu, May 8, 2014 at 3:20 PM, sarah browne  wrote:

Born in Flames

Lizzie Borden, 1984
(politics of radio broadcast – amazing feminist film)

Pontypool 
2012
(a virus transmitted through language; very clever Canadian horror film  
adapted from a book)


Talk Radio
Oliver Stone
(about the murder of a shock jock, like Pontypool filmed almost entirely within 
the setting of a radio station)



  From: Julia Gouin
 
 To: frameworks@jonasmekasfilms.com 

 Sent: Thursday, 8 May 2014, 17:59:46
 Subject: [Frameworks] Looking for films about the radio and on air diffusion

   
Dear all, 

I am looking for films and videos that deal either thematically or technically 
with the idea of radio and radio diffusion. 


Any titles that come to your mind? 

Many thanks in advance for your thoughts

Julia Gouin
   
Administratrice 

ATTENTION / / NOUVELLE ADRESSE / / 







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Re: [Frameworks] serene velocity

[Jorge Lorenzo Flores Garza]

The film has no titles.  Ernie Gehr said the film didn't need them.
As to the frames, I think he has mentioned that every stage in the zoom lens 
was set to four frames, but I could be wrong.

Cheers.

> Date: Fri, 21 Mar 2014 10:03:49 -0700
> From: ericthe...@gmail.com
> To: frameworks@jonasmekasfilms.com
> Subject: [Frameworks] serene velocity
> 
> Hello frameworkers,
> 
> Two questions re: Ernie Gehr's Serene Velocity.
> 
>   anyone out there--researchers/preservationists--undertaken the
> mundane task of doing frame counts?
>   are there any titles or credits on the film?
> 
> Thanks in advance. I haven't had the pleasure of seeing the film in
> the past decade.
> 
> Eric
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Re: [Frameworks] Installation works that incorporate hand-painted film

[Jorge Lorenzo Flores Garza]

Not a female artist, but I highly recommend the expanded cinema of Dirk de 
Bruyn from Australia.  There is a good text on his work at Senses of Cinema.

Date: Tue, 25 Feb 2014 12:32:47 -0600
From: rabro...@gmail.com
To: frameworks@jonasmekasfilms.com
Subject: Re: [Frameworks] Installation works that incorporate hand-painted  
film

Looks like the link I included was bad. Here's the correct one:
http://sheriwills.com/


On Tue, Feb 25, 2014 at 11:32 AM, John Knecht  wrote:

Adam,


I work in multiple channel video installation as well as single channel, often 
looped, pieces. All my work is hand drawn animation, beginning with paper on 
pencil.   I just did a show two weeks ago at Union Docs in Brooklyn.  I have a 
new piece which was installed at the Llwelyn Gallery at Alfred State College 
this fall, titled "Considering the Probability of Divine Intervention".  The 
piece consists of five 19" flatscreens with built in dvd players, displaying 
five hand drawn animations, beginning with gouach on paper drawings,  of houses 
intermittently rising off of their foundations.  When I showed it at the 
Llewelyn Gallery I showed the original gouache paintings of each house which 
are the same size as the video screens.  These are framed.  I own all the video 
flat screen/dvd player displays.




I also currently have an exhibition at the Munson Williams Proctor Arts 
Institute in Utica, NY,  of four panels from my  fifteen channel, video 
animation "Fragments from the Wheels of Ezekiel"!  These four video animations, 
displayed on flat screens have recently been purchased for the Institute's 
permanent collection.  
http://www.mwpai.org/museum-of-art/museum-of-art-calendar/new-funny-and-odd-videos-on-view/




Here are some images.  Check out my web site "johnknechtart.com".   I'd be glad 
to send you a dvd documenting some of my installations and a reel of single 
channel animation. 




John Knecht 
jkne...@colgate.edu


On Tue, Feb 25, 2014 at 8:20 AM, Adam R. Levine  wrote:


Dear Frameworks,
This is a very specific RFI but I am looking for artists or works that check as 
many (at least two, let's say) of the following boxes as possible, listed in 
order of preference:



1. Installations or possibly live performances...2. ...That incorporate 
abstract footage (preferably 16mm loops)3. Hand painted, scratch film, or hand 
animation4. Sculptural elements or constructed environments


5. Use of text or voice6. Preferably by female artists or filmmakers
Like I said - specific. But perhaps you can help.
Many thanks,Adam



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-- 
John Knecht, Russell Colgate Distinguished
 University Professor of Art and Art History
 and Film and Media Studies 


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Re: [Frameworks] Weapons and the military in avant-garde cinema?

[Jorge Lorenzo Flores Garza]

This is one from Mexico.  A short and dimple piece I found interesting and used 
in a program a while ago:





















DE NEGOCIOS Y PLACER, Dir. Iván Edeza, 2000, video NTSC, color, sonido,
1:37 min.






And I can't help think about Marie Menken's "Hurry! Hurry!"

Best.

From: chuck...@northwestern.edu
To: frameworks@jonasmekasfilms.com
Date: Tue, 28 Jan 2014 23:32:11 +
Subject: Re: [Frameworks] Weapons and the military in avant-garde cinema?









IF you want to stretch a bit, there's a group of films that show, document, 
etc. protests against weapons such as the anti-nuke movement in the 50s on, and 
films showing anti-war protests.



Jonas Mekas, his diary film of the 50s on (under some different titles as it 
evolved, as I remember--try Lost Lost Lost) includes a very poignant section of 
people protesting against air-raid drills in the 1950s.



Not quite so avant garde, but still "original" Peter Watkins: Culloden, a "you 
are there" docudrama of the turning point battle in the Highlands depicting the 
devastating power of British rifles against what amounted to stone age weapons 
of the Scots.
  Perhaps especially appropriate for a museum of arms.  And powerfully anti-war.







There have been some powerful films about specific weapon systems:  Agent 
Orange and land mines, etc.  Usually in the aftermath and about the after 
effects.



Haroun Farocki's Inextinguishable Fires, on Napalm is pretty powerful, and 
experimental.









Chuck Kleinhans















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Re: [Frameworks] films/videos using/made up of text

[Jorge Lorenzo Flores Garza]

Well, why not?  I will promote my new piece since I am excited to show it, jeje.

"On the Road by Jack Kerouac" is the re-writing on Kerouac's scroll onto 35mm 
film using a typewriter.  There are several versions, here's the positive one:

https://vimeo.com/73238401

Cheers!

From: hinterland.mov...@gmail.com
Date: Fri, 15 Nov 2013 12:04:34 -0500
To: silver...@earthlink.net; frameworks@jonasmekasfilms.com
Subject: Re: [Frameworks] films/videos using/made up of text

There's my movie: A Self-Referential Film in 30 Sentences, which is (mostly) 
all text.

You can see it here: https://vimeo.com/14794720



Michael Betancourt
Savannah, GA USA


michaelbetancourt.com
twitter.com/cinegraphic | vimeo.com/cinegraphic


www.cinegraphic.net | the avant-garde film & video blog



On Thu, Nov 14, 2013 at 12:42 PM, Shelly Silver  wrote:


dear collective knowledge base folks:

i'm compiling a list of works using text/made up of text.  i'm especially 
interested in works by women.



thank you!



best,

shelly

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Re: [Frameworks] (no subject)

[Jorge Lorenzo Flores Garza]

I do use D-76 in a class but it is all done very fast and inexactly (without 
exact water temperature).  More for testing and getting a glimpse of hand 
processing.  But I have to say that the results are pretty good.  I leave the 
roll negative and then transfer it to video from the projected image on the 
wall.  Of course, all is very cheap.  Then reverse it to positive on Final Cut 
and the image comes out pretty good.  You should try it!
Best,



Date: Thu, 31 Oct 2013 12:05:01 +
From: d.alexanderb...@gmail.com
To: frameworks@jonasmekasfilms.com
Subject: [Frameworks] (no subject)

Has anyone any experience hand-processing Super 8 Kodak Tri-X 7266? If so, what 
developer would you suggest? I mix my own D-76 and D-19. Can anyone confirm if 
D-76 yields a good result? Thanks!


-- 
Daniel Boos
Moving Image Artist

+44 (0)7719 771712
d.alexanderb...@gmail.com

skype: danny.boos






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Re: [Frameworks] Hand-processing Color Film in LA?

[Jorge Lorenzo Flores Garza]

oops!  Didn't see the LA location...sorry for that Niagara Custom Lab is a long 
way but still, if someone is interested, they do a great job there.

From: rogerdwil...@sympatico.ca
To: frameworks@jonasmekasfilms.com
Date: Sun, 28 Jul 2013 22:55:59 +
Subject: Re: [Frameworks] Hand-processing Color Film in LA?




Hi Carrie!
Where are you located? I'm in Ottawa Ontario Canada. This is very interesting 
and is very similar to what I focus my own experimentation on. I have done 
everything from pre-bleaching my film stock to burying it in the ground prior 
to photographing images. Please check out my website and lets chat more off 
list if this interests you.
Talk soon!

Roger D. Wilson613 324 - 7504rogerdwilson@sympatico.cahttp://www.rogerdwilson.ca
Without failure you can never achieve success. I have based my process and my 
career as an experimental film artist on this statement; and I welcome it as it 
pushes me forward as an artist to try something different, something new. 

Date: Sun, 28 Jul 2013 12:40:45 -0700
From: carriemakesmov...@gmail.com
To: FrameWorks@jonasmekasfilms.com
Subject: [Frameworks] Hand-processing Color Film in LA?

Hi FW,   I'm looking for someone in LA who is experienced in hand-processing 
color C-41. I'm interested in trying a technique where I dip-dye unexposed film 
in India ink, let it dry then shoot with it. Obviously this will ruin any lab's 
chemicals when they process so i'll need to do this step myself, but only have 
a darkroom set up for black and white. Anyone in LA point me to a home-hobbyist 
who might be willing to play with this technique? Thanks!!
-- 

Carrie SchreckFilmmaker, photographer, and all-around cool 
chick.carrieschreck.com
(415) 730 1146


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Re: [Frameworks] Hand-processing Color Film in LA?

[Jorge Lorenzo Flores Garza]

Sebastjan Henrickson at Niagara Custom Lab.  I am sure he'll processes anything 
in the world.

Date: Sun, 28 Jul 2013 14:48:10 -0700
From: jesse...@gmail.com
To: frameworks@jonasmekasfilms.com
Subject: Re: [Frameworks] Hand-processing Color Film in LA?

Try the Echo Park Film Center:http://www.echoparkfilmcenter.org/

On Sun, Jul 28, 2013 at 12:40 PM, Carrie Schreck  
wrote:

Hi FW,   I'm looking for someone in LA who is experienced in hand-processing 
color C-41. I'm interested in trying a technique where I dip-dye unexposed film 
in India ink, let it dry then shoot with it. Obviously this will ruin any lab's 
chemicals when they process so i'll need to do this step myself, but only have 
a darkroom set up for black and white. Anyone in LA point me to a home-hobbyist 
who might be willing to play with this technique? Thanks!!

-- 

Carrie SchreckFilmmaker, photographer, and all-around cool 
chick.carrieschreck.com
(415) 730 1146



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-- 
Jesse Lerner
593 Glendale Blvd.
Los Angeles, CA  90026  USA
tel./fax: (213) 413-1333
www.americanegypt.net


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Re: [Frameworks] Dizziness and Disorientation

[Jorge Lorenzo Flores Garza]

Vertov's Enthusiasm has a great sequence of drunks/religious people montaged to 
be saved by comunism!


Date: Mon, 1 Apr 2013 07:22:39 -0700
From: pamari...@yahoo.com
To: frameworks@jonasmekasfilms.com
Subject: Re: [Frameworks] Dizziness and Disorientation

Gamelan, by Claudio Caldini.
http://lightcone.org/en/film-5384-gamelan
http://antennaecollection.com/Experimental.html
(Also have his contact info, if interested in showing the original Super 8 
print.)
Best wishes,pablo.


--- On Mon, 4/1/13, carli...@aol.com  wrote:

From: carli...@aol.com 
Subject: Re: [Frameworks] Dizziness and Disorientation
To: frameworks@jonasmekasfilms.com
Date: Monday, April 1, 2013, 10:52 AM


Yes, that's a doozy. Flicker by Tony Conrad would also be on the list.





Anthology just showed Back and Forth a week or two ago. Did anybody last?













-Original Message-

From: Patrick Brennan 

To: Experimental Film Discussion List 

Sent: Mon, Apr 1, 2013 6:37 am

Subject: Re: [Frameworks] Dizziness and Disorientation













Michael Snow's Back and Forth would be the best example I can think of off the 
top of my head. 








On Mon, Apr 1, 2013 at 7:01 AM, Anderwald + Grond  
wrote:



Dear frameworkers,

We are currently conceiving a research project, including film screenings, on 
the phenomenon of Dizziness/Disorientation seen as a resource for thought and 
artistic practice.


Could you please recommend theory writings or artists' films and videos?

Thank you!

Ruth + Leo











-

Ruth Anderwald + Leonhard Grond



++43 699 10984551

Schüttelstr. 21/14  

1020 Vienna

cont...@anderwald-grond.at


http://www.anderwald-grond.at

follow on twitter @anderwaldgrond


http://www.hasenherz.at


















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-- 

Patrick Brennan

patrick.brennan...@gmail.com




 




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-Inline Attachment Follows-

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Re: [Frameworks] ¿hay alguien en el d.f., Mexico?

[Jorge Lorenzo Flores Garza]

Sorry everyone!  That was for Kristie.  Cheers.

From: a_r...@hotmail.com
To: frameworks@jonasmekasfilms.com
Date: Fri, 15 Mar 2013 16:57:23 -0700
Subject: [Frameworks] ¿hay alguien en el d.f., Mexico?





Hola. ¿que tal?

Estoy buscando un cineaste de cualquier nivel en el d.f.

Me interesta conocer alguien quien sabe mucho de la historia de cine 
mexicana

yo he estado mirando mucho las peliculas de Pedro Infante, 
y me gustaria saber mas del estudio de Los Hermanos Rodriquez, quien hicieron 
la mayor de sus peliculas.

Me gustaria ver donde en d.f. fue el estudio, y si hay locales donde se 
grabaron, si todavia existen en el d.f.
O ¡a lo mejor! todavia viva alguien quien trabajó alli que quiere hablar 
conmigo..

Voy estar en d.f. en la semaña santa, y me gustaria investigar estes cosas 
mientras estoy alli.

Cual quier informacion usted tiene, o si usted concozco alguien que gustaria 
hablar conmigo, ¡lo aprecio!

gracias,
Kristie






Kristie Reinders, B.F.A.

Director of Cinematography, Electric Visions

Curator and Head Projectionist, Electric Mural Project

The Mission, San Francisco, CA



'A first class technician should work best under pressure.' 

- - - Issac Asimov

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Re: [Frameworks] FLEX touring shows.

[Jorge Lorenzo Flores Garza]

I am no t in Mexico City...but Laboratorio Arte Alameda IS THE place to put on 
a show.  Coingratulations!

From: roge...@ufl.edu
To: frameworks@jonasmekasfilms.com
Date: Fri, 1 Feb 2013 17:07:34 +
Subject: [Frameworks] FLEX touring shows.







All,



Apologies for the late notice, but if you happen to find yourself in St. 
Petersburg, FL tonight or Mexico City tomorrow night, FLEX: the Florida 
Experimental Film/Video Festival will be presenting two programs in 
anticipation of our biennial competitive
 festival, which will be taking place in Gainesville, FL from February 15-17.



Tonight´s show is at the C. Emerson Fine Arts Gallery at 7 p.m. and includes a 
selection of films and videos from the past 9 years of the festival.  The 
program will be presented by Alisson Bittiker, FLEX Managing Director, and 
Natalie Nix, FLEX Co-Managing
 Director.



Tomorrow night (Saturday) I´ll be presenting a sneak preview of FLEXfest 2013 
at the Laboratorio Arte Alameda at 8 p.m.



Both shows are free.  If you happen to be close by and are able to drop in, 
we´d love to see you.



...
Roger
FLEX Artistic Director and Founder




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[Frameworks] Contact for Marten Nilsson

[Jorge Lorenzo Flores Garza]

Hello everyone.  Anybody has Marten Nilsson's e-mail.  If you do, please 
contact me off-list.

Thanks!!

Jorge Lorenzo
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Re: [Frameworks] Re-submitting to Festivals

[Jorge Lorenzo Flores Garza]

I had an interesting experience once.  It wasn't really re-submitting.  I 
submitted a film at Images Festival once and I didn't get in.  Next year I 
submitted with another one and they contacted me saying they were interested in 
the one that didn't get in the year before.  That was great.  I guess there are 
tons of reasons why a film doesn't get in to festivals.  And it doesn't mean it 
gets discarded once you get rejected one year.  They never got back to me about 
the second film I submitted...I hope it gets in next year...or maybe I should 
just re-submit.

Cheers!

Jorge L.

Date: Mon, 4 Jun 2012 13:58:02 -0700
From: bcfilmf...@gmail.com
To: frameworks@jonasmekasfilms.com
Subject: Re: [Frameworks] Re-submitting to Festivals

With larger festivals like those you mentioned, it might be worthwhile to 
submit again. Chances are good you'll get a new reviewer, possibly one that 
appreciates "abstract" films a bit more, and there can also be programing 
turnover from year-to-year. Keep in mind that acceptance odds are lower the 
bigger the festival, and a good programer will focus on the individual piece & 
program rather than if the filmmaker has name recognition or has shown there 
previously.



It might be worth emailing to see if they show work that’s a couple years old, 
and if they would consider waiving the entry fee for re-submitting. If they 
care more about good programing than money, they’ll probably say “yes” or 
“we’re not interested.” Either way, it could save you a fat check or at least 
help it from getting lost in the shuffle.



In general, calling a festival to ask about a programing decision isn't going 
to be much help. Whomever answers the phone likely wasn't the person that 
reviewed the film, and only a few rare festivals maintain notes that are easily 
accessible. It's also generally considered in poor form to put someone on the 
spot like that. The best way is to email the "program director" simply to ask 
if they maintain a record or could provide feedback... most often you probably 
won't get a response, but if they keep good records it could be most helpful.  



As far as length... shortening from 30 to 20 minutes may have a marginal 
effect, as long as it doesn't effect the overall quality of the film. "Flow" is 
more important than the actual length, unless your film really gets down-to-the 
wire in the selection process.





Dan Anderson, filmmaker/programer
cineplosion.blogspot.com
On Mon, Jun 4, 2012 at 12:06 PM, Ken Paul Rosenthal 
 wrote:





While I'm well aware that re-submitting one particular film to a given festival 
is almost universally prohibited (not to mention a waste of money), I've been 
reading a lot lately on the practicalities of curating a shorts program in 
terms of length. Hence, I'm inspired to reconsider something I've long 
pondered--that my 30 minute film, Crooked Beauty was rejected by many 'apparent 
shoe-in' fests because of it's length. I know there are numerous factors that 
govern acceptance/rejection: from personal taste to curatorial theme to 
nepotism to student pre-jurors pre-empting work to the flood of 
submissions--not to mention whether or not the dvd screener played in the 
juror's computer. I recently shortened my film to 20 minutes in order to 
qualify it for two particular festivals whose maximum TRT was that length. So 
all said, I feel moved to re-submit to Sundance, Slamdance, SXSW, and the 
Oberhausen International Shorts Festival. (I really really want to re-submit to 
Ann Arbor, which has screened every film I've ever made and rather bizarrely 
rejected this one--and with no explanation whatsoever when I inquired via 
phone). I've skipped a season since entering the first three fests in my list, 
and wonder if it's worth my re-submitting the shortened version, clearly 
stating the shorter length. I've yet to review these festivals' rules and 
regulations, but am curious in general how folks feel about this, and what 
their experiences have been. This note is not about sour grapes, as CB has 
generally done rather well. It's an honest inquiry, so I'd appreciate the 
responses being respectful and practical. Thanks, Ken


www.crookedbeautythefilm.com  (Academic)
www.crookedbeauty.com  (Public)
www.kenpaulrosenthal.com
  

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Re: [Frameworks] FrameWorks Digest, Vol 23, Issue 28

[Jorge Lorenzo Flores Garza]

I've used rear projection screens and you can always get the hot spotlight from 
the projector which can be very annoying.  So I started using those big rolls 
of bond paper.  Just normal white bond paper like the one used for printing 
text but on large rolls.  It is opaque enough to not let the projector 
spotlight show but you still get the image.  You loose a little bit of light, 
but it still works pretty good.

Jorge L.

From: otherc...@hotmail.com
To: frameworks@jonasmekasfilms.com
Date: Fri, 27 Apr 2012 22:16:57 -0700
Subject: Re: [Frameworks] FrameWorks Digest, Vol 23, Issue 28





toilet paper works fantastic, especially in a slight wind (from projector), if 
you want to go that close to the lens. 

Craig Baldwin
OTHER CINEMA
992 Valencia Street
San Francisco, CA 94110
(415)648-0654
www.othercinema.com

Date: Tue, 24 Apr 2012 13:35:31 -0400
From: kittylitter...@gmail.com
To: frameworks@jonasmekasfilms.com
Subject: Re: [Frameworks] FrameWorks Digest, Vol 23, Issue 28

Hi FrameworksI was wondering if anyone has played around with back projection 
with 16mm projectors. I recently starting messing around with this and had some 
good results with a milky mylar or velum like material...but just out of 
curiosity what other materials for a screen have people found yields good 
results? 
MeowsKat

On Tue, Apr 24, 2012 at 1:02 PM,   
wrote:

Send FrameWorks mailing list submissions to

frameworks@jonasmekasfilms.com



To subscribe or unsubscribe via the World Wide Web, visit

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or, via email, send a message with subject or body 'help' to

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You can reach the person managing the list at

frameworks-ow...@jonasmekasfilms.com



When replying, please edit your Subject line so it is more specific

than "Re: Contents of FrameWorks digest..."


Today's Topics:



   1. C-mount adaptor for S mount lenses (steve cossman)

   2. Re: C-mount adaptor for S mount lenses (David Tetzlaff)

   3. PAPA - Funding Campaign Reminder (Shane Christian Eason)

   4. Adam Curtis contact (LJ Frezza)

   5. Flicker Films (LJ Frezza)



-- Forwarded message --
From: steve cossman 
To: 

Cc: 
Date: Mon, 23 Apr 2012 17:55:38 -0400
Subject: [Frameworks] C-mount adaptor for S mount lenses





 Frameworkers, 
 I own a few nice S mount lenses, that came with a Kodak Cine Special II that I 
purchased at a yard sale. 
 They work quite nicely on the Kodak camera, but I recently saw a C-mount 
adaptor on eBay and was curious if anyone had experience with shooting S-mount 
lenses on a C-Mount Bolex.   Is there a loss of image ? Does the image cover 
the full frame? 

 I'm curious, so I thought I would ask the experts. 
 Steve Cossman
  


-- Forwarded message --
From: David Tetzlaff 
To: Experimental Film Discussion List 

Cc: 
Date: Mon, 23 Apr 2012 20:01:19 -0400
Subject: Re: [Frameworks] C-mount adaptor for S mount lenses
They'll be fine, as long as it's a parallax Bolex, not a reflex. Lots of K-100s 
came equipped with some of those kodak-mount into c-mount lenses as standard.








-- Forwarded message --
From: Shane Christian Eason 
To: frameworks@jonasmekasfilms.com

Cc: 
Date: Mon, 23 Apr 2012 17:33:13 -0700 (PDT)
Subject: [Frameworks] PAPA - Funding Campaign Reminder
Greetings and my apologies for cross posting.


It's the hockey playoffs! Why not support PAPA by donning a beard! Pledge to 
PAPA, become a backer and wear your own. Only 25 days left on Kickstarter. You 
can review the KS PAPA blog at http://kck.st/GC4lfO.


Follow PAPA at www.twitter.com/PAPAFilm2013 or www.facebook.com/papafilm.

Feel free to contact me off list with questions or feedback.


Best,
Shane

---
Shane Eason, MFA
Miami + Ft. Lauderdale

-- Forwarded message --
From: LJ Frezza 

To: Experimental Film Discussion List , 
Experimental Film Discussion List 

Cc: 
Date: Tue, 24 Apr 2012 12:09:08 -0400
Subject: [Frameworks] Adam Curtis contact
Hello folks,

I'm interested in screening Adam Curtis's three-part series, All

Watched Over by Machines of Loving Grace, at a small theater in

Brooklyn. Wondering if anyone here has his contact info or any

previous experience in working with him to theatrically screen his

work.

Thanks

-LJ



--

ljfre...@gmail.com / 904.762.8300





-- Forwarded message --
From: LJ Frezza 
To: Experimental Film Discussion List 

Cc: 
Date: Tue, 24 Apr 2012 12:13:53 -0400
Subject: [Frameworks] Flicker Films
Hello again gentlepeople,

I'm looking to put together a survey of pioneering flicker films, as

well as contemporary works, all preferrably on celluloid, and I was

wondering if you guys were interested in throwing a few suggestions my

way. I have a few ideas of my own, of course, but I always like to see

what Frameworks thinks about these sorts of thing

Re: [Frameworks] Experiments in Cinema

[Jorge Lorenzo Flores Garza]

Oh, yes!!  I've been there once.  Really great festival.  Really well 
organized.  A chance to meet up with great friends and colleagues but also to 
meet new people.  Organization in the festival is top notch.  They have great 
screening halls.  Really nice intro clips for every program.  Great festival 
gatherings in great restaurants-bars or at Bryan's beautiful garden.  And 
yes...great food.

Keep it up over there!!!

Date: Thu, 26 Apr 2012 07:41:42 -0400
From: carynycl...@gmail.com
To: frameworks@jonasmekasfilms.com
Subject: Re: [Frameworks] Experiments in Cinema

I agree with Matt.  Konefsky and company at Experiments in Cinema put together 
a great festival.  The work this year was particularly stimulating.  

Best,

CC


On Tue, Apr 24, 2012 at 9:38 PM, matt's frameworks address 
 wrote:

Hello all,

I am just home from Experiments in Cinema in Albuquerque New Mexico and have to 
report that it is really a great festival.  Good programming, friendly people, 
nice weather + scenery, and great Mexican food!  It is definitely a festival 
worth keeping on your radar. 



Check it out if you are not already familiar with it: 
http://www.experimentsincinema.com/

-Matt

-- 
---
www.rodeofilmco.com

---



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-- 
Caryn Cline
Filmmaker and Teacher
New York City and Seattle, WA
vimeo.com/carynyc






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Re: [Frameworks] Experiments in Cinema programs now available!

[Jorge Lorenzo Flores Garza]

Certainly, count me in for one.  

Address:
Robert Horsey c/o Jorge Lorenzo
139 Texas Ave.
New Braunfels, TX
78130

Thanks Bryan.  Good luck!!

Jorge Lorenzo

> From: bry...@unm.edu
> To: frameworks@jonasmekasfilms.com
> Date: Sun, 1 Apr 2012 11:05:22 -0600
> Subject: [Frameworks] Experiments in Cinema programs now available!
> 
> Hello everyone - As we have done in past years we would 
> like to continue to offer a copy of our printed program 
> (v7.9) free to those of you who might be interested. 
>  Please email me (see address below, send me your mailing 
> address and I'll send a copy to you!
> 
> all the best and remember, happiness is a warm and well 
> lubricated projector.
> 
> Bryan Konefsky, Visualiste
> Lecturer, Dept. of Cinematic Arts, University of New 
> Mexico
> Artistic Director, Experiments in Cinema
> President, Basement Films
> Advisory Board, Ann Arbor Film Festival
> guest curator, Southwest Gay & Lesbian Film Festival
> 
> Cell: 505.235.1852
> 
> PO Box 9337
> Albuquerque, NM 87119 USA
> 
> "As the spirit wanes the form appears." - Charles Bukowski
> 
> NOT sent from my iPhone 4S
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Re: [Frameworks] Kuchar on the Oscars

[Jorge Lorenzo Flores Garza]

Well, I don't think it's enough or fair to mention Kuchar in this montage.  
They should have given him an honorary Oscar or something.  Give him some 
credit while still alive.

> Date: Tue, 28 Feb 2012 08:46:22 +0100
> To: frameworks@jonasmekasfilms.com
> From: framewo...@re-voir.com
> Subject: Re: [Frameworks] Kuchar on the Oscars
> 
> I understood that Chuck Workman always cuts together the Oscar 
> montage - and as he just made the feature-length "Visionaries" on the 
> experimental filmmakers around Anthology, he does know them all. 
> (Though I prefered his "Condensed Cream of Beatles!)
> -Pip
> 
> 
> 
> At 20:50 -0800 27/02/12, Mark Toscano wrote:
> >Exactly.  I didn't have anything to do with it!  Which is all the 
> >better, as it suggests that his influence has indeed permeated 
> >enough to be on the radar of folks cutting together Oscars montages.
> >
> >Mark
> >
> >
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Re: [Frameworks] does security scans/ xrays affect?

[Jorge Lorenzo Flores Garza]

Well, I jave heard that nowadays, if your film is over ISO 800, it might get 
damaged, but not under that.  I have crossed my film through x-rays in airports 
and nothing has happened.  But they've been rolls that I have just for fun 
shooting.  The only time I did work abroad on a documentary with 16mm, I asked 
the airport agents to not pull it through x-rays and they where glad to check 
it by hand...of course, without opening the cans, jeje.


Date: Wed, 23 Nov 2011 13:03:52 -0800
From: jesse...@gmail.com
To: frameworks@jonasmekasfilms.com
Subject: Re: [Frameworks] does security scans/ xrays affect?

There are example of damage done to film by airport security on the Kodak site:
http://support.en.kodak.com/app/answers/detail/a_id/30482/selected/true



On Wed, Nov 23, 2011 at 12:58 PM, Michael Higgins  
wrote:

The man at the airport told, 'professional film' at 1200 speed will be 
affected. 
Any links to any examples, photography or motion film? I've never seen the 
effects of x-ray.
M  
-- 
Jesse Lerner
593 Glendale Blvd.
Los Angeles, CA  90026  USA
tel./fax: (213) 413-1333
www.americanegypt.net




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Re: [Frameworks] I can´t sleep

[Jorge Lorenzo Flores Garza]

Well, yes, of course, reading Mark Toscano's reply, there are all those films 
made at night.  I saw one by Takashi Ito called GHOST.  It was made in a 
dormitory in the company where he worked.  And he wrote that he was sleeping 
like two hours a day because of shooting long exposures frame by frame.  I 
highly recomend his work.  SPACEY is very interesting.  It uses animation 
techniques with photographs of a huge gym, but it seems like it was shot in the 
same painstaking conditions...I'm sure he didn't sleep much.

And let's not forget Jeanne Liotta's OBSERVANDO EL CIELO.  I am one of the 
unfortunate one that hasn't seen it, but the clips look really good and I am 
sure she didn't get much sleep while doing it.

Cheers,

Jorge Lorenzo


> Date: Fri, 4 Nov 2011 18:07:15 -0700
> From: fiddy...@yahoo.com
> To: frameworks@jonasmekasfilms.com
> Subject: Re: [Frameworks] I can´t sleep
> 
> INSOMNIA by Fred Worden
> Different sizes of hole-punches in black leader.  I think Fred made this 
> during insomnia-driven late nights, but not sure.  His scratch film BOULEVARD 
> may also be relevant.  And perhaps EVERYDAY BAD DREAM.
> 
> 999 BOY by Chris Langdon
> 10 minutes of 400-speed b/w footage driving in the desert at night, only 
> headlights illuminating the landscape - the night merging with and emerging 
> out of the grain field that makes up the film's dominant imagery.
> 
> VENICE PIER by Gary Beydler
> 
> HAULING TOTO BIG by Robert Nelson
> Covers dream states, documented reality transformed as folklore, hypnosis, 
> landscape wanderings, many other things...
> 
> Many by Lewis Klahr or Janie Geiser (like THE FOURTH WATCH)  Actually, 
> Lewis's GOVINDA would be great.  Late night softporn, a found student film, 
> and a super 8 wedding.
> 
> THE DEATH OF THE GORILLA by Peter Mays
> Shot off of late-night TV, multiple passes in-camera with different color 
> filters.  Amazing stuff, you can see images at my blog, 
> preservationinsanity.bogspot.com if you want
> 
> IN PROGRESS by JJ Murphy and Norman Bloom
> Simple and beautiful landscape studies shot over months from a fixed camera 
> view.
> 
> Much of Richard Myers' body of work is richly about dreams, sleep, 
> searchings, wanderings... 
> 
> Perhaps NOCTURNE and WHAT'S OUT TONIGHT IS LOST by Phil Solomon
> 
> Mark T
> 
> 
> > 
> > -Original Message-
> > From: frameworks-boun...@jonasmekasfilms.com
> > [mailto:frameworks-boun...@jonasmekasfilms.com]
> > On Behalf Of Paul Krimmer
> > Sent: Friday, November 04, 2011 9:36 AM
> > To: Experimental Film Discussion List
> > Subject: [Frameworks] I can´t sleep
> > 
> > Hey. im programming my month's schedule called "i can't
> > sleep". Just 
> > wanted to know some films which come to your mind about
> > night, walkings, 
> > silent ones and of course and best radical work. thanks for
> > your 
> > head-sharing.
> > 
> > best,
> >paul
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Re: [Frameworks] I can´t sleep

[Jorge Lorenzo Flores Garza]

Ironically, Warhol's SLEEP.  In that line, I would also add Gunvor Nelson's 
TIME BEING which is more about the ultimate night we are all headed towards: 
death.  And I guess Warhol's is too.

Best,

Jorge L.


> From: jmh...@pomona.edu
> To: frameworks@jonasmekasfilms.com
> Date: Fri, 4 Nov 2011 13:52:13 -0700
> Subject: Re: [Frameworks] I can´t sleep
> 
> It's a feature film--and readily available on DVD.
> But, how about Tsai Mingliang's I DONT WANT TO SLEEP ALONE.
> 
> Jonathan
> 
> 
> 
> 差出人: frameworks-boun...@jonasmekasfilms.com 
> [frameworks-boun...@jonasmekasfilms.com] は Paul Krimmer [p...@krimmer.at] の代理
> 送信日時: 2011年11月4日 6:36
> 宛先: Experimental Film Discussion List
> 件名: [Frameworks] I can´t sleep
> 
> Hey. im programming my month's schedule called "i can't sleep". Just
> wanted to know some films which come to your mind about night, walkings,
> silent ones and of course and best radical work. thanks for your
> head-sharing.
> 
> best,
>paul
> ___
> FrameWorks mailing list
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> https://mailman-mail5.webfaction.com/listinfo/frameworks
> 
> -
> This message has been scanned by Postini anti-virus software.
> 
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Re: [Frameworks] 35mm experimental films

[Jorge Lorenzo Flores Garza]

I have to add a film not that well known outside of Mexico, but a classic down 
here:  Magueyes by Ruben Gámez.  It's a beautiful film.  Jesse Lerner I think 
has a copy on 35mm.

Jorge l.

Date: Thu, 27 Oct 2011 22:26:26 -0400
From: warrencocker...@gmail.com
To: frameworks@jonasmekasfilms.com
Subject: Re: [Frameworks] 35mm experimental films

Self Portrait Post Mortem - Louise Bourque 
l’éclat du mal/the Bleeding Heart of it - Louise Bourque
Trypps 3 - Ben Russell
Crosswalk - Jeanne Liotta (shot on super 8.. finished to 35 I think)



On Thu, Oct 27, 2011 at 5:15 PM, Christopher Harris  
wrote:






Hello all,
I'm looking for recommendations of 35mm experimental films for a program I am 
planning.  I have already thought of some titles like these but I could use 
plenty of other recommendations:
Trees of Syntax, Leaves of Axis - Daichi Saito
Coming Attractions- Peter TscherkasskyInstructions for a Light and Sound 
Machine- Peter Tscherkassky
Arnulf Rainer- Peter KubelkaStrips- Felix Dufour-Laperriere
Ouverture- Christopher Becks
The Decay of Fiction- Pat O'Neill
Domashnyee Kino/Home Movie (and other films)-John Price

Thanks in advance.

CH


  

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Re: [Frameworks] Moving to San Francisco

[Jorge Lorenzo Flores Garza]

I just want to say that I did have a great time in SF.  I learned a lot, I met 
a lot of people doing their stuff.  I don't really care if it is new and 
vibrant, they were exciting and excited doing their things; they all taught me 
a lot.  As Chris says, there are a lot of resources.  I know a lot of people 
who didn't take advantage, and a lot of them who did.  Besides the school 
library (SFAI) I went to the Public Library and got as much as I could.  I live 
in Monterrey, Mexico.  It is a terrible town to live in, but all the stuff I 
brought back from SF has kept me burning and vibrant, I guess.  And about being 
stuck on structuralism, I didn't get that idea.  I really wish I could have 
seen more of that in SF.  I personally got a lot into it and I think in a way a 
reason why filmmaking might have gotten stagnant might be because structuralism 
is kind of forgotten.  Although it might not be as effective with digital 
technology, but that's another issue.

Best,

Jorge Lorenzo

> Date: Tue, 30 Aug 2011 10:15:23 -0400
> From: ch...@signaltoground.com
> To: frameworks@jonasmekasfilms.com
> Subject: [Frameworks] Moving to San Francisco
> 
> My guess is Aaron has never lived anywhere else. Compared to most cities, SF
> has a pretty great amount of resources.
> 
> That said, Carl, you're going to have to make it happen. Don't expect
> anything to be handed to you (especially if you're in anyway associated to
> SFAI), you've got to take charge and find things and do things. And when you
> do, you'll find that there's both a decent community (yes, maybe not
> "vibrant" anymore, but great in many ways) and one that is receptive to new
> things when someone does do something new. SF is known for having a ton of
> people who pass through for a few years and light the fire a bit AND people
> who hole away in their neighborhoods after having been part of the fire for
> a period of time (when you see their neighborhoods, you'll understand why).
> But when they're active, its a lot of fun. Your turn.
> 
> Read "Radical Light", too. It's a pretty good. and yes, stay away from the
> burners...
> 
> C
> 
> 
> On 8/30/11 1:57 AM, "frameworks-requ...@jonasmekasfilms.com"
>  wrote:
> 
> > --
> 
> Message: 4
> Date: Mon, 29 Aug 2011 13:44:08
> > -0700
> From: "Aaron F. Ross" 
> Subject: Re:
> > [Frameworks] Moving to San Francisco
> To: Experimental Film Discussion List
> > 
> 
> 
> The avant-garde film scene in
> > this town has 
> really degenerated in the last ten years. I took 
> a break for a
> > while to work on other things, and 
> when I came back I found that the scene I
> > knew 
> and loved had fallen on hard times.
> 
> I can't recommend San Francisco as
> > a place to 
> find new and exciting avant-garde motion picture 
> events. The
> > venues Steve mentioned seem to be 
> stuck in the 60's. I have nothing against
> > 
> structuralism, etc. per se, but frankly I see a 
> lack of imagination and an
> > inability to embrace 
> new methods. This is an ill omen.
> 
> Don't come here
> > expecting a vibrant community. 
> It's stodgy, eccentric, self-absorbed,
> > insular, 
> and profoundly unimaginative. The old guard have 
> no mojo left in
> > them, and the young people are 
> too busy fluffing their Burning Man costumes
> > to do anything revolutionary.
> 
> Aaron
> 
> 
> 
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