[Frameworks] field-level processing in video
Robert Harris
lagonaboba at gmail.com
Fri Aug 15 13:19:11 CDT 2025
Thanks James Hansen,
> On Aug 15, 2025, at 1:30 PM, James Hansen <james.p.hansen at gmail.com> wrote:
>
> Lucinda Furlong had two articles published in Afterimage in 1983. "Notes Toward a History of Image-Processed Video." Includes analysis / writing on Siegel, Beck, Rutt, Sandin, Etras. An editors note promised, "Future articles will discuss the work of Ralph Hocking and Sherry Miller at ETC, Paik, Gorewitz, Barbara Buckner, Sara Hornbacher, Peer Bode, and others." Those articles did not come to be, alas.
>
> In 1985, her article "Tracking Video Art: Image-Processing as a Genre" continued the line of inquiry.
>
> Ralph Hocking has a number of writings through ETC and elsewhere that would be of interest.
>
> Peer would have me add that he studied at Binghamton in a moment where the film and video artists were in the same department, which I know was and is very important to him. There's certainly a longer history in the field beyond/around the figures that have been mentioned. Gerry O'Grady a key figure in this history, as well.
>
>
> On Fri, Aug 15, 2025 at 1:01 PM <frameworks-request at film-gallery.org <mailto:frameworks-request at film-gallery.org>> wrote:
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>> Today's Topics:
>>
>> 1. Re: field-level processing in video (jared ashburn)
>> 2. Re: field-level processing in video (Federico Windhausen)
>> 3. Re: field-level processing in video (jared ashburn)
>> 4. Bruce McClure contact (Adam Hyman)
>> 5. Re: Bruce McClure contact (Adam Hyman)
>> 6. Looking for a quiet space to edit in NYC (ev petrol)
>>
>>
>>
>> ---------- Forwarded message ----------
>> From: jared ashburn <ashburn.jared at gmail.com <mailto:ashburn.jared at gmail.com>>
>> To: Experimental Film Discussion List <frameworks at film-gallery.org <mailto:frameworks at film-gallery.org>>
>> Cc:
>> Bcc:
>> Date: Thu, 14 Aug 2025 12:05:03 -0500
>> Subject: Re: [Frameworks] field-level processing in video
>> Dear Steve and Adam,
>>
>> The potential of the "early days" of digital video is starting to look like a promising area of research. I'm not sure if I would have said that back then, as I was also somewhat skeptical of film artists making a late turn to video. But, look at what Gehr, Snow, Jacobs, and others have done! I would assume that many avant-garde filmmakers experimented with analog video, even if we never saw the results. The fact that they didn't pursue it would have to be based on the particularities of their practice. For instance, I imagine that Jacobs had a specific rationale for waiting as long as he did, and that it involved much more than just the low resolution of even broadcast video compared to film. In some ways, I think film artists who skipped analog video somehow made the transition to digital more effectively than artists who had been working in analog. I say that as a die-hard Vasulka enthusiast, but seen from now, I think film artists (or maybe just the ones I am particularly interested in) may have thought more critically about the affordances of digital (except Steina and Woody!). I'm not sure; I am just starting to think about this time period in this way. Anyways, thank you all for your input. -JA
>>
>> On Wed, Aug 13, 2025 at 6:25 PM Adam Hyman <adam at lafilmforum.org <mailto:adam at lafilmforum.org>> wrote:
>>> Hi all,
>>>
>>> I just looked up when we tried to screen it at Los Angeles Filmforum. It was Sunday, March 13, 2005. The program was Crystal Palace (2002), The Astronomer's Dream (2004), and Precarious Garden (2004). I made a note that Crystal Palace was cancelled due to projection shortcomings.
>>>
>>> It was at the Spielberg Theater at the Egyptian, a room that no longer exists. It had a progressive projector (not a CRT) but he needed it to be interlaced to work.
>>>
>>>
>>>
>>> Best regards,
>>>
>>> Adam
>>>
>>>
>>>
>>>
>>>
>>> -----
>>>
>>> Adam Hyman
>>>
>>> Executive Director
>>>
>>> Los Angeles Filmforum
>>>
>>>
>>>
>>>
>>>
>>> From: Frameworks <frameworks-bounces at film-gallery.org <mailto:frameworks-bounces at film-gallery.org>> on behalf of Steve Polta <steve.polta at gmail.com <mailto:steve.polta at gmail.com>>
>>> Reply-To: Experimental Film Discussion List <frameworks at film-gallery.org <mailto:frameworks at film-gallery.org>>
>>> Date: Wednesday, August 13, 2025 at 2:07 PM
>>> To: Experimental Film Discussion List <frameworks at film-gallery.org <mailto:frameworks at film-gallery.org>>
>>> Subject: Re: [Frameworks] field-level processing in video
>>>
>>>
>>>
>>> Dear Jared,
>>>
>>>
>>>
>>> I'm pretty sure that I was at the same screening of Crystal Palace that Mark Toscano references which, if I'm not mistaken, was at Pacific Film Archive in Berkeley CA on October 7, 2003 <https://bampfa.org/event/cinema-ernie-gehr-program-1>. At this screening the work was shown as projected video and was definitely not on a CRT. Ernie Gehr was there in person and, if I recall correctly, was frustrated that they could not get the projection system to reproduce what he'd seen in his piece. This sort of thing—artists being unable to replicate effects they'd worked with on one video system on another—were not uncommon in these "early days" of projected digital video. If Gehr has another piece that attempted this, I don't know what it is.
>>>
>>>
>>>
>>> Steve Polta
>>>
>>>
>>>
>>> On Wed, Aug 13, 2025 at 11:16 AM jared ashburn <ashburn.jared at gmail.com <mailto:ashburn.jared at gmail.com>> wrote:
>>>
>>> Mark, Adam, Michael, and Robert,
>>>
>>>
>>>
>>> I saw "Crystal Palace" at some point, but couldn't remember the title. It was that one that provoked my question, so thank you for reminding me. I'm seeing it described as "An ode to digital interlace, which is to video what intervals between frames are to film…". Do you happen to remember if it was displayed on a CRT? I'm trying to figure out the title of the other one you mentioned, and I do wonder if (and how) he managed to resolve the transfer to a progressive format. I stumbled upon the same kind of field flicker in FCP at about the same time he made "Crystal Palace" and was only able to capture the output through rescan. I think a VTR (analog without an internal TBC, maybe?) and a display that doesn't deinterlace by default might work to preserve the field flicker, but I'm not certain. I also don't know if that could then be transferred to a digital format (tape or file) without it being deinterlaced at some point. Even if it were, as Adam points out, most all digital projectors (and LCDs) would deinterlace and apply frame interpolation, which would kill the flicker. To Robert's point, perhaps field-based effects are best left to the analog domain. Still, even there, it required a special instrument (Rutt/Etra or the Vasulkas Digital Image Articulator —a hybrid device). Michael, I am unfamiliar with Yalkut's work that you mentioned. I'd be interested to know, and VERY curious to know what instruments he used. Thank you all for your input. I appreciate it. -Jared
>>>
>>>
>>>
>>> On Sun, Aug 10, 2025 at 2:45 PM Robert Harris <lagonaboba at gmail.com <mailto:lagonaboba at gmail.com>> wrote:
>>>
>>> The person who most formally, thoroughly, and passionately immersed themself in the video field, in the formative instant of image generation, was video maker/filmmaker Al Robbins, working with portapak, reel to reel video in 1973 and after.
>>> Given the fragile, uncopyable nature of his tapes, and given the generally galleryizing world of video in the mid 70’s, Al’s work was tragically under appreciated.
>>> Rather than look to filmmakers who had no interest in analog video, you should pursue your Vasulka thread, and look to the individuals associated with the Experimental Television Center in Owego, NY. Founder Ralph Hocking is deceased, his wife and collaborator Sherry Hocking Miller is still around. Seek out Peer Bode, Hank Rudolph, David Jones, Neil Zussman.
>>> But for the original artist with absolute investment in the glitch and all its implications, Al Robbins.
>>>
>>>
>>>
>>> Robert Harris, Professor
>>> Fitchburg State University
>>>
>>>
>>>
>>> > On Aug 9, 2025, at 12:13 AM, jared ashburn <ashburn.jared at gmail.com <mailto:ashburn.jared at gmail.com>> wrote:
>>> >
>>> > Does anyone know if Ken Jacobs, Ernie Gehr, or any other artists besides Woody and Steina Vasulka have worked at the level of the video field? I’m particularly interested in practices that manipulate fields (1/60 second in NTSC), whether for timing-based image alteration or for preserving field-specific flicker phenomena. Thanks!
>>> > --
>>> > Frameworks mailing list
>>> > Frameworks at film-gallery.org <mailto:Frameworks at film-gallery.org>
>>> > https://mail.film-gallery.org/mailman/listinfo/frameworks_film-gallery.org
>>>
>>> --
>>> Frameworks mailing list
>>> Frameworks at film-gallery.org <mailto:Frameworks at film-gallery.org>
>>> https://mail.film-gallery.org/mailman/listinfo/frameworks_film-gallery.org
>>>
>>> --
>>> Frameworks mailing list
>>> Frameworks at film-gallery.org <mailto:Frameworks at film-gallery.org>
>>> https://mail.film-gallery.org/mailman/listinfo/frameworks_film-gallery.org
>>>
>>> -- Frameworks mailing list Frameworks at film-gallery.org <mailto:Frameworks at film-gallery.org> https://mail.film-gallery.org/mailman/listinfo/frameworks_film-gallery.org
>>>
>>> --
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>>> https://mail.film-gallery.org/mailman/listinfo/frameworks_film-gallery.org
>>
>>
>>
>> ---------- Forwarded message ----------
>> From: Federico Windhausen <fjw2031 at nyu.edu <mailto:fjw2031 at nyu.edu>>
>> To: frameworks at film-gallery.org <mailto:frameworks at film-gallery.org>
>> Cc:
>> Bcc:
>> Date: Thu, 14 Aug 2025 15:03:57 -0300
>> Subject: Re: [Frameworks] field-level processing in video
>> Hello Jared & co.,
>> Apologies if this message is out of sync with the current thread about this topic. I only receive the delayed, digest version of Frameworks.
>> I saw Crystal Palace at the Walter Reade cinema in New York in 2002. Because the venue's video projector was not progressive-scan, the video's flicker was quite visible. In 2011, I saw the video again, interlaced flicker intact, on an old CRT monitor in Ernie Gehr's home studio in Brooklyn.
>> That year, I wrote about the video for an article (to my chagrin, in the print version, an editorial error led to the still images of the video's flicker being omitted). Not long afterwards, Ernie debuted a new version, once again at the Walter Reade theater. He had attempted to use alternative digital effects to compensate for the lack of the flicker "artifacting" on now-ubiquitous progressive-scan video projectors. (I recall a number of freeze frames that lacked flicker and thus made the video seem more static than it had previously been.) He wasn't able to achieve anything close to what he'd done in 2002. We discussed this after the screening. He was pretty unhappy with the results, and I shared his view that he hadn't yet found a satisfying way to revise and remediate the original version. I haven't asked him about since then. I am sure he would also be very interested to know if anyone has figured out how to preserve the flicker via contemporary digital video media.
>> best,
>> Federico
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>> Date: Wed, 13 Aug 2025 13:14:26 -0500
>>> From: jared ashburn <ashburn.jared at gmail.com <mailto:ashburn.jared at gmail.com>>
>>> To: Experimental Film Discussion List <frameworks at film-gallery.org <mailto:frameworks at film-gallery.org>>
>>> Subject: Re: [Frameworks] field-level processing in video
>>> Message-ID:
>>> <CACFi8AVqrK=v6RoSXftcxO-gWuAPzHC+p_HK9e+uF9ePdjP+fA at mail.gmail.com <mailto:v6RoSXftcxO-gWuAPzHC%2Bp_HK9e%2BuF9ePdjP%2BfA at mail.gmail.com>>
>>> Content-Type: text/plain; charset="utf-8"
>>
>> Mark, Adam, Michael, and Robert,
>>
>> I saw "Crystal Palace" at some point, but couldn't remember the title. It
>> was that one that provoked my question, so thank you for reminding me. I'm
>> seeing it described as "An ode to digital interlace, which is to video what
>> intervals between frames are to film…". Do you happen to remember if it was
>> displayed on a CRT? I'm trying to figure out the title of the other one you
>> mentioned, and I do wonder if (and how) he managed to resolve the transfer
>> to a progressive format. I stumbled upon the same kind of field flicker in
>> FCP at about the same time he made "Crystal Palace" and was only able to
>> capture the output through rescan. I think a VTR (analog without an
>> internal TBC, maybe?) and a display that doesn't deinterlace by default
>> might work to preserve the field flicker, but I'm not certain. I also don't
>> know if that could then be transferred to a digital format (tape or file)
>> without it being deinterlaced at some point. Even if it were, as Adam
>> points out, most all digital projectors (and LCDs) would deinterlace and
>> apply frame interpolation, which would kill the flicker. To Robert's point,
>> perhaps field-based effects are best left to the analog domain. Still, even
>> there, it required a special instrument (Rutt/Etra or the Vasulkas Digital
>> Image Articulator —a hybrid device). Michael, I am unfamiliar with Yalkut's
>> work that you mentioned. I'd be interested to know, and VERY curious to
>> know what instruments he used. Thank you all for your input. I appreciate
>> it. -Jared
>>
>> On Sun, Aug 10, 2025 at 2:45 PM Robert Harris <lagonaboba at gmail.com <mailto:lagonaboba at gmail.com>> wrote:
>>
>> > The person who most formally, thoroughly, and passionately immersed
>> > themself in the video field, in the formative instant of image generation,
>> > was video maker/filmmaker Al Robbins, working with portapak, reel to reel
>> > video in 1973 and after.
>> > Given the fragile, uncopyable nature of his tapes, and given the generally
>> > galleryizing world of video in the mid 70’s, Al’s work was tragically under
>> > appreciated.
>> > Rather than look to filmmakers who had no interest in analog video, you
>> > should pursue your Vasulka thread, and look to the individuals associated
>> > with the Experimental Television Center in Owego, NY. Founder Ralph Hocking
>> > is deceased, his wife and collaborator Sherry Hocking Miller is still
>> > around. Seek out Peer Bode, Hank Rudolph, David Jones, Neil Zussman.
>> > But for the original artist with absolute investment in the glitch and all
>> > its implications, Al Robbins.
>> >
>> >
>> >
>> > Robert Harris, Professor
>> > Fitchburg State University
>> >
>> >
>> >
>> > > On Aug 9, 2025, at 12:13 AM, jared ashburn <ashburn.jared at gmail.com <mailto:ashburn.jared at gmail.com>>
>> > wrote:
>> > >
>> > > Does anyone know if Ken Jacobs, Ernie Gehr, or any other artists besides
>> > Woody and Steina Vasulka have worked at the level of the video field? I’m
>> > particularly interested in practices that manipulate fields (1/60 second in
>> > NTSC), whether for timing-based image alteration or for preserving
>> > field-specific flicker phenomena. Thanks!
>> > > --
>>
>>
>>
>>
>> ---------- Forwarded message ----------
>> From: jared ashburn <ashburn.jared at gmail.com <mailto:ashburn.jared at gmail.com>>
>> To: Experimental Film Discussion List <frameworks at film-gallery.org <mailto:frameworks at film-gallery.org>>
>> Cc:
>> Bcc:
>> Date: Thu, 14 Aug 2025 14:00:18 -0500
>> Subject: Re: [Frameworks] field-level processing in video
>> Federico,
>>
>> What is the title of your article, and how can we access it? The video field, as a temporally distinct unit for image manipulation, has effectively been eliminated in contemporary digital media. The native structures of modern digital media no longer support field-level effects in the way analog interlaced video once did. In practical terms, half-frames and the process of frame-forming (utilizing the 16.7 microsecond window of the vertical blanking interval) have largely disappeared for most production and display contexts. This is one of the greatest tragedies in the move to progressive, digital formats, if you ask me. I'm sure Gehr has access to video engineers who could resolve this issue for him, but it would require a funky workflow. It wouldn't be clean, and I think it would require a CRT-based monitor or projector for exhibition. That part doesn't seem too horrible to me, but getting there would be tough and might involve a rescan at some point. No one wants to do that, but it's worth remembering that all of Woody's work (and most everyone else's, I think) with the Rutt/Etra was rephotographed or rescanned. His still images and tapes from that time look fantastic, but he went to great lengths to compensate for the flattening effects of rephotography/rescan. I might suggest that Gehr reach out to a tool and instrument builder or programmer. This would require a video engineer who thinks in rather unusual ways! I'm thinking of Dave Jones, Jeff Schier, Derek Holzer (an authority on scan processing), CT Lui, and maybe Walter Wright. Luke Dubois, who coauthored Jitter, would also be a good source of info, I bet. Thank you for your input, Federico, and your excellent research and writing (I am also a Sharits fanatic!).
>>
>> Best wishes,
>> jared
>>
>>
>>
>> On Thu, Aug 14, 2025 at 1:07 PM Federico Windhausen <fjw2031 at nyu.edu <mailto:fjw2031 at nyu.edu>> wrote:
>>> Hello Jared & co.,
>>> Apologies if this message is out of sync with the current thread about this topic. I only receive the delayed, digest version of Frameworks.
>>> I saw Crystal Palace at the Walter Reade cinema in New York in 2002. Because the venue's video projector was not progressive-scan, the video's flicker was quite visible. In 2011, I saw the video again, interlaced flicker intact, on an old CRT monitor in Ernie Gehr's home studio in Brooklyn.
>>> That year, I wrote about the video for an article (to my chagrin, in the print version, an editorial error led to the still images of the video's flicker being omitted). Not long afterwards, Ernie debuted a new version, once again at the Walter Reade theater. He had attempted to use alternative digital effects to compensate for the lack of the flicker "artifacting" on now-ubiquitous progressive-scan video projectors. (I recall a number of freeze frames that lacked flicker and thus made the video seem more static than it had previously been.) He wasn't able to achieve anything close to what he'd done in 2002. We discussed this after the screening. He was pretty unhappy with the results, and I shared his view that he hadn't yet found a satisfying way to revise and remediate the original version. I haven't asked him about since then. I am sure he would also be very interested to know if anyone has figured out how to preserve the flicker via contemporary digital video media.
>>> best,
>>> Federico
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>> Date: Wed, 13 Aug 2025 13:14:26 -0500
>>>> From: jared ashburn <ashburn.jared at gmail.com <mailto:ashburn.jared at gmail.com>>
>>>> To: Experimental Film Discussion List <frameworks at film-gallery.org <mailto:frameworks at film-gallery.org>>
>>>> Subject: Re: [Frameworks] field-level processing in video
>>>> Message-ID:
>>>> <CACFi8AVqrK=v6RoSXftcxO-gWuAPzHC+p_HK9e+uF9ePdjP+fA at mail.gmail.com <mailto:v6RoSXftcxO-gWuAPzHC%2Bp_HK9e%2BuF9ePdjP%2BfA at mail.gmail.com>>
>>>> Content-Type: text/plain; charset="utf-8"
>>>
>>> Mark, Adam, Michael, and Robert,
>>>
>>> I saw "Crystal Palace" at some point, but couldn't remember the title. It
>>> was that one that provoked my question, so thank you for reminding me. I'm
>>> seeing it described as "An ode to digital interlace, which is to video what
>>> intervals between frames are to film…". Do you happen to remember if it was
>>> displayed on a CRT? I'm trying to figure out the title of the other one you
>>> mentioned, and I do wonder if (and how) he managed to resolve the transfer
>>> to a progressive format. I stumbled upon the same kind of field flicker in
>>> FCP at about the same time he made "Crystal Palace" and was only able to
>>> capture the output through rescan. I think a VTR (analog without an
>>> internal TBC, maybe?) and a display that doesn't deinterlace by default
>>> might work to preserve the field flicker, but I'm not certain. I also don't
>>> know if that could then be transferred to a digital format (tape or file)
>>> without it being deinterlaced at some point. Even if it were, as Adam
>>> points out, most all digital projectors (and LCDs) would deinterlace and
>>> apply frame interpolation, which would kill the flicker. To Robert's point,
>>> perhaps field-based effects are best left to the analog domain. Still, even
>>> there, it required a special instrument (Rutt/Etra or the Vasulkas Digital
>>> Image Articulator —a hybrid device). Michael, I am unfamiliar with Yalkut's
>>> work that you mentioned. I'd be interested to know, and VERY curious to
>>> know what instruments he used. Thank you all for your input. I appreciate
>>> it. -Jared
>>>
>>> On Sun, Aug 10, 2025 at 2:45 PM Robert Harris <lagonaboba at gmail.com <mailto:lagonaboba at gmail.com>> wrote:
>>>
>>> > The person who most formally, thoroughly, and passionately immersed
>>> > themself in the video field, in the formative instant of image generation,
>>> > was video maker/filmmaker Al Robbins, working with portapak, reel to reel
>>> > video in 1973 and after.
>>> > Given the fragile, uncopyable nature of his tapes, and given the generally
>>> > galleryizing world of video in the mid 70’s, Al’s work was tragically under
>>> > appreciated.
>>> > Rather than look to filmmakers who had no interest in analog video, you
>>> > should pursue your Vasulka thread, and look to the individuals associated
>>> > with the Experimental Television Center in Owego, NY. Founder Ralph Hocking
>>> > is deceased, his wife and collaborator Sherry Hocking Miller is still
>>> > around. Seek out Peer Bode, Hank Rudolph, David Jones, Neil Zussman.
>>> > But for the original artist with absolute investment in the glitch and all
>>> > its implications, Al Robbins.
>>> >
>>> >
>>> >
>>> > Robert Harris, Professor
>>> > Fitchburg State University
>>> >
>>> >
>>> >
>>> > > On Aug 9, 2025, at 12:13 AM, jared ashburn <ashburn.jared at gmail.com <mailto:ashburn.jared at gmail.com>>
>>> > wrote:
>>> > >
>>> > > Does anyone know if Ken Jacobs, Ernie Gehr, or any other artists besides
>>> > Woody and Steina Vasulka have worked at the level of the video field? I’m
>>> > particularly interested in practices that manipulate fields (1/60 second in
>>> > NTSC), whether for timing-based image alteration or for preserving
>>> > field-specific flicker phenomena. Thanks!
>>> > > --
>>>
>>> --
>>> Frameworks mailing list
>>> Frameworks at film-gallery.org <mailto:Frameworks at film-gallery.org>
>>> https://mail.film-gallery.org/mailman/listinfo/frameworks_film-gallery.org
>>
>>
>>
>> ---------- Forwarded message ----------
>> From: Adam Hyman <adam at lafilmforum.org <mailto:adam at lafilmforum.org>>
>> To: Experimental Film Discussion List <frameworks at film-gallery.org <mailto:frameworks at film-gallery.org>>
>> Cc:
>> Bcc:
>> Date: Thu, 14 Aug 2025 13:04:00 -0700
>> Subject: [Frameworks] Bruce McClure contact
>> Greetings all,
>>
>> Does anyone have contact info for Bruce McClure. If so, please email me off list. Thank you.
>>
>>
>>
>> Best regards,
>>
>>
>>
>> Adam Hyman
>>
>>
>>
>>
>>
>> -----
>>
>> Adam Hyman
>>
>> Executive Director
>>
>> Los Angeles Filmforum
>>
>> www.lafilmforum.org <http://www.lafilmforum.org/>
>> adam at lafilmforum.org <mailto:adam at lafilmforum.org>
>> 323-377-7238
>>
>>
>>
>>
>> ---------- Forwarded message ----------
>> From: Adam Hyman <adam at lafilmforum.org <mailto:adam at lafilmforum.org>>
>> To: Experimental Film Discussion List <frameworks at film-gallery.org <mailto:frameworks at film-gallery.org>>
>> Cc:
>> Bcc:
>> Date: Thu, 14 Aug 2025 14:01:04 -0700
>> Subject: Re: [Frameworks] Bruce McClure contact
>> Hi all,
>>
>> I’ve received the email from a few people now. No need to send any further. Thank you!
>>
>>
>>
>> Best,
>> Adam
>>
>>
>>
>> From: Frameworks <frameworks-bounces at film-gallery.org <mailto:frameworks-bounces at film-gallery.org>> on behalf of Adam Hyman <adam at lafilmforum.org <mailto:adam at lafilmforum.org>>
>> Reply-To: Experimental Film Discussion List <frameworks at film-gallery.org <mailto:frameworks at film-gallery.org>>
>> Date: Thursday, August 14, 2025 at 1:05 PM
>> To: Experimental Film Discussion List <frameworks at film-gallery.org <mailto:frameworks at film-gallery.org>>
>> Subject: [Frameworks] Bruce McClure contact
>>
>>
>>
>> Greetings all,
>>
>> Does anyone have contact info for Bruce McClure. If so, please email me off list. Thank you.
>>
>>
>>
>> Best regards,
>>
>>
>>
>> Adam Hyman
>>
>>
>>
>>
>>
>> -----
>>
>> Adam Hyman
>>
>> Executive Director
>>
>> Los Angeles Filmforum
>>
>> www.lafilmforum.org <http://www.lafilmforum.org/>
>> adam at lafilmforum.org <mailto:adam at lafilmforum.org>
>> 323-377-7238
>>
>>
>>
>> -- Frameworks mailing list Frameworks at film-gallery.org <mailto:Frameworks at film-gallery.org> https://mail.film-gallery.org/mailman/listinfo/frameworks_film-gallery.org
>>
>>
>>
>>
>> ---------- Forwarded message ----------
>> From: ev petrol <epetrol2 at yahoo.com <mailto:epetrol2 at yahoo.com>>
>> To: Experimental Film Discussion List <frameworks at film-gallery.org <mailto:frameworks at film-gallery.org>>
>> Cc:
>> Bcc:
>> Date: Thu, 14 Aug 2025 23:37:49 +0000 (UTC)
>> Subject: [Frameworks] Looking for a quiet space to edit in NYC
>> Hello all,
>> I'm looking for a quiet space where I can edit - ideally install a large desk and use the wall space behind it (to tape/pin up notes &c)
>> All and any leads would be very gratefully received!
>> thanks Moira
>>
>> moiratierney.net <http://moiratierney.net/> vimeo.com/moiratierney <http://vimeo.com/moiratierney>
>>
>>
>> On Wednesday, April 23, 2025 at 08:19:04 PM EDT, Jimmy Schaus <jimmyschaus at gmail.com <mailto:jimmyschaus at gmail.com>> wrote:
>>
>>
>> Oh, and The Laughing Alligator (Juan Downey) and any number of films by Ojoboca.
>>
>> On Wed, Apr 23, 2025 at 6:53 PM Jimmy Schaus <jimmyschaus at gmail.com <mailto:jimmyschaus at gmail.com>> wrote:
>> Between Relating and Use (Nazlı Dinçel)
>>
>>
>> On Wed, Apr 23, 2025 at 5:28 PM Ж <kkotik at gmail.com <mailto:kkotik at gmail.com>> wrote:
>> Hey,
>> how are you?
>>
>> I would suggest two works, Luchando <https://lightcone.org/en/film-7243-luchando> by yann beauvais.
>> and the installation Urban Stories/ Nanling-Guangzhou, by Sylvie Blocher.
>>
>> Good luck!
>>
>> Best,
>> Ж
>> ______________________________
>> [ele-dele/he-him]
>> film( )s & + kkinema.com.br <http://kkinema.com.br/>
>> publicações /editions & + textodecinema.com <http://textodecinema.com/>
>>
>>
>> Em qua., 23 de abr. de 2025 às 17:32, Felipe Guerrero <mibarbariedomestica at gmail.com <mailto:mibarbariedomestica at gmail.com>> escreveu:
>> Our latest film, Morichales, could expand this discussion:
>> https://filmotor.com/morichales/
>>
>> El mié, 23 abr 2025 a las 11:07, scott (<steady.ulysses at gmail.com <mailto:steady.ulysses at gmail.com>>) escribió:
>> Sans Soleil is pretty accesible
>>
>> On Wed, Apr 23, 2025 at 9:18 AM peter snowdon <peter at redrice.net <mailto:peter at redrice.net>> wrote:
>> Renzo Maartens' films could make a good jumping off point for this kind of conversation.
>> https://renzomartens.com/work/
>>
>> Good luck! The difficult collaborations can often be the most fruitful:-)
>> Peter
>>
>> On Wed, Apr 23, 2025, at 12:34 AM, Kitty wrote:
>> > =EF=BB=BF
>> > Hi Frameworks,
>> >
>> > I am working with an anthropologist on a (possibly defined as) ethnographic f=
>> > ilm and he needs some experimental film context to help us get on the same p=
>> > age. In fact he has little to no film history besides from the rather mainst=
>> > ream cinema =E2=80=A6 so its time for a little experimental film history...!=
>> > =20
>> >
>> > Of course I have a list things forming already but I thought I would pose th=
>> > is question here to really open up pandora's box to get a wide scope beyond e=
>> > ven what I might be thinking about....
>> >
>> > So really any filmmakers or specific films, installations, performances, exp=
>> > anded cinema pieces, video art, etc, that could even be slightly related to t=
>> > he subjects of; self reflective poetic ethnographic films, documentaries tha=
>> > t question the idea of being documentaries, films where fiction and fact sli=
>> > p and slide and also if they happen to touch on the subjects (but not exclus=
>> > ively this) the global south, migratory workers, immigration, colonialism, i=
>> > ndigenous culture, racism, and farming.=20
>> > I know this is all very broad, but I wanted to let it be like that and see w=
>> > hat varied answers I would get. =20
>> >
>> > Thank you,
>> > Katherine Bauer
>> >
>> >
>> > --
>> > Frameworks mailing list
>> > Frameworks at film-gallery.org <mailto:Frameworks at film-gallery.org>
>> > https://mail.film-gallery.org/mailman/listinfo/frameworks_film-gallery.org
>>
>> --
>> "Partnering with [authoritarian] regimes, it never pays off in the long term."
>> JD Vance, Paris, 10 February 2025, as quoted by The Guardian.
>>
>> --
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>
>
>
> --
> James Hansen
> Associate Professor Of Art History, NYSCC at Alfred University
> Curator of Light Matter Film Festival
> --
> Frameworks mailing list
> Frameworks at film-gallery.org
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