From: Jeanne LIOTTA (email suppressed)
Date: Mon Jul 28 2008 - 15:04:15 PDT
um, maybe my film WHAT MAKES DAY AND NIGHT (1998). Its not exactly perfect ;) It has a replaced soundtrack which is also sort of a perfect track b/c it is one side of a record without editing. Anyway no cuts have been made in the original industrial as I found it. There's a clip on my website if you wanna peek.
love, jeanne
www.jeanneliotta.net
www.youtube.com/user/zerojeanli
---- Original message ----
>Date: Mon, 28 Jul 2008 12:14:10 -0400
>From: FRAMEWORKS automatic digest system <email suppressed>
>Subject: FRAMEWORKS Digest - 28 Jul 2008 - Special issue (#2008-374)
>To: email suppressed
>
>There are 6 messages totalling 589 lines in this issue.
>
>Topics in this special issue:
>
> 1. Perfect Films (4)
> 2. projector belt repair and home made belts?
> 3. cliches
>
>
>__________________________________________________________________
>For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
>
>
>----------------------------------------------------------------------
>
>Date: Mon, 28 Jul 2008 11:30:37 -0400
>From: Thomas Beard <email suppressed>
>Subject: Re: Perfect Films
>
>> This message is in MIME format. Since your mail reader does not understand
>this format, some or all of this message may not be legible.
>
>--Boundary_(ID_iqXYvJXaLTiRK9wroEl4QA)
>Content-type: text/plain; charset=ISO-8859-1
>Content-transfer-encoding: quoted-printable
>
>Though isn=B9t Happy-End edited? I guess what I=B9m really interested in here
>are not so much found footage films, but films as found objects. And Perfec=
>t
>Video is an interesting example because, if I remember correctly, it=B9s a
>ready-made video printed to film.
>
>TB
>
>
>On 7/28/08 11:06 AM, "albert alcoz" <email suppressed> wrote:
>
>> Peter Tscherkassky's Happy-End?
>>=20
>> albert
>>=20
>> ----- Mensaje original ----
>> De: Thomas Beard <email suppressed>
>> Para: email suppressed
>> Enviado: lunes, 28 de julio, 2008 15:54:39
>> Asunto: Perfect Films
>>=20
>> Hello Frameworkians,
>>=20
>> I'm finishing up some research right now on ready-mades in experimental
>> cinema--works like Ken Jacobs's Perfect Film, Hollis Frampton's Work and
>> Days, Brian Frye's Anatomy of Melancholy, etc.--and wanted to check in wi=
>th
>> the list for suggestions about related films.
>>=20
>> Best,
>> Thomas=20
>>=20
>>=20
>> __________________________________________________________________
>> For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
>>=20
>> =20
>>=20
>>=20
>> Enviado desde Correo Yahoo!
>> <http://us.rd.yahoo.com/mailuk/taglines/isp/control/*http://us.rd.yahoo.c=
>om/ev
>> t=3D52431/*http://es.docs.yahoo.com/mail/overview/index.html>
>> La bandeja de entrada m=E1s inteligente.
>>=20
>> __________________________________________________________________ For in=
>fo on
>> FrameWorks, contact Pip Chodorov at <email suppressed>.
>>=20
>>=20
>
>
>
>__________________________________________________________________
>For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
>
>
>--Boundary_(ID_iqXYvJXaLTiRK9wroEl4QA)
>Content-type: text/html; charset=ISO-8859-1
>Content-transfer-encoding: 7BIT
>
><HTML>
><HEAD>
><TITLE>Re: Perfect Films</TITLE>
></HEAD>
><BODY>
><FONT FACE="Calibri, Verdana, Helvetica, Arial"><SPAN STYLE='font-size:11pt'>Though isn’t Happy-End edited? I guess what I’m really interested in here are not so much found footage films, but films as found objects. And Perfect Video is an interesting example because, if I remember correctly, it’s a ready-made video printed to film. <BR>
><BR>
>TB<BR>
><BR>
><BR>
>On 7/28/08 11:06 AM, "albert alcoz" <(address suppressed)> wrote:<BR>
><BR>
></SPAN></FONT><BLOCKQUOTE><FONT FACE="Arial"><SPAN STYLE='font-size:12pt'>Peter Tscherkassky's Happy-End?<BR>
><BR>
>albert<BR>
><BR>
></SPAN><FONT SIZE="2"><SPAN STYLE='font-size:10pt'>----- Mensaje original ----<BR>
>De: Thomas Beard <(address suppressed)><BR>
>Para: (address suppressed)<BR>
>Enviado: lunes, 28 de julio, 2008 15:54:39<BR>
>Asunto: Perfect Films<BR>
><BR>
>Hello Frameworkians,<BR>
><BR>
>I'm finishing up some research right now on ready-mades in experimental<BR>
>cinema--works like Ken Jacobs's Perfect Film, Hollis Frampton's Work and<BR>
>Days, Brian Frye's Anatomy of Melancholy, etc.--and wanted to check in with<BR>
>the list for suggestions about related films.<BR>
><BR>
>Best,<BR>
>Thomas <BR>
><BR>
><BR>
>__________________________________________________________________<BR>
>For info on FrameWorks, contact Pip Chodorov at <(address suppressed)>.<BR>
></SPAN></FONT></FONT><FONT FACE="Calibri, Verdana, Helvetica, Arial"><SPAN STYLE='font-size:11pt'><BR>
> <BR>
><HR ALIGN=CENTER SIZE="1" WIDTH="100%"><BR>
></SPAN></FONT><FONT SIZE="1"><FONT FACE="Verdana, Helvetica, Arial"><SPAN STYLE='font-size:9pt'>Enviado desde Correo Yahoo! <http://us.rd.yahoo.com/mailuk/taglines/isp/control/*http://us.rd.yahoo.com/evt=52431/*http://es.docs.yahoo.com/mail/overview/index.html> <BR>
></SPAN></FONT></FONT><FONT FACE="Verdana, Helvetica, Arial"><SPAN STYLE='font-size:11pt'>La bandeja de entrada más inteligente.<BR>
></SPAN></FONT><SPAN STYLE='font-size:11pt'><FONT FACE="Calibri, Verdana, Helvetica, Arial"><BR>
>__________________________________________________________________ For info on FrameWorks, contact Pip Chodorov at <(address suppressed)>. <BR>
><BR>
><BR>
></FONT></SPAN></BLOCKQUOTE>
></BODY>
></HTML>
>
><p>
>__________________________________________________________________
>For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
><p>
>
>--Boundary_(ID_iqXYvJXaLTiRK9wroEl4QA)--
>
>------------------------------
>
>Date: Mon, 28 Jul 2008 11:39:18 -0400
>From: Roger Beebe <email suppressed>
>Subject: Re: Perfect Films
>
>--Apple-Mail-7-581674015
>Content-Transfer-Encoding: quoted-printable
>Content-Type: text/plain;
> charset=ISO-8859-1;
> delsp=yes;
> format=flowed
>
>Happy-End is pretty heavily edited, even though the footage itself =20
>was found in a single source. I actually asked Tscherkassky about =20
>the document/documentary question about this film (i.e., when a film =20
>like this treats found footage as some sort of document--here, the =20
>document of this couple's drunken holiday celebrations--does it imply =20=
>
>some sort of relationship to the documentary tradition?) and =20
>Tscherkassky replied laconically, "I have no relationship to the =20
>documentary tradition." I think (if I'm reading between the line[s] =20
>properly) that he feels like the ordering and manipulation that he =20
>did in Happy-End is more significant than the "documentary" nature of =20=
>
>this footage, although I feel like its the footage itself that makes =20
>this film work so well.
>
>Anyway,
>R.
>
>On Jul 28, 2008, at 11:06 AM, albert alcoz wrote:
>
>> Peter Tscherkassky's Happy-End?
>>
>> albert
>>
>> ----- Mensaje original ----
>> De: Thomas Beard <email suppressed>
>> Para: email suppressed
>> Enviado: lunes, 28 de julio, 2008 15:54:39
>> Asunto: Perfect Films
>>
>> Hello Frameworkians,
>>
>> I'm finishing up some research right now on ready-mades in =20
>> experimental
>> cinema--works like Ken Jacobs's Perfect Film, Hollis Frampton's =20
>> Work and
>> Days, Brian Frye's Anatomy of Melancholy, etc.--and wanted to check =20=
>
>> in with
>> the list for suggestions about related films.
>>
>> Best,
>> Thomas
>>
>>
>> __________________________________________________________________
>> For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
>>
>>
>> Enviado desde Correo Yahoo!
>> La bandeja de entrada m=E1s inteligente.
>> __________________________________________________________________ =20
>> For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
>>
>
>
>
>__________________________________________________________________
>For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
>
>
>--Apple-Mail-7-581674015
>Content-Transfer-Encoding: quoted-printable
>Content-Type: text/html;
> charset=ISO-8859-1
>
><html><body style=3D"word-wrap: break-word; -webkit-nbsp-mode: space; =
>-webkit-line-break: after-white-space; ">
>Happy-End is pretty heavily edited, even though the footage itself was =
>found in a single source. =A0I actually asked Tscherkassky about the =
>document/documentary question about this film (i.e., when a film like =
>this treats found footage as some sort of document--here, the document =
>of this couple's drunken holiday celebrations--does it imply some sort =
>of relationship to the documentary tradition?) and Tscherkassky replied =
>laconically, "I have no relationship to the documentary tradition." =A0I =
>think (if I'm reading between the line[s] properly) that he feels like =
>the ordering and manipulation that he did in Happy-End is more =
>significant than the "documentary" nature of this footage, although I =
>feel like its the footage itself that makes this film work so =
>well.<div><br></div><div>Anyway,</div><div>R.</div><div><br><div><div>On =
>Jul 28, 2008, at 11:06 AM, albert alcoz wrote:</div><br =
>class=3D"Apple-interchange-newline"><blockquote type=3D"cite"><span =
>class=3D"Apple-style-span" style=3D"border-collapse: separate; color: =
>rgb(0, 0, 0); font-family: Helvetica; font-size: 12px; font-style: =
>normal; font-variant: normal; font-weight: normal; letter-spacing: =
>normal; line-height: normal; orphans: 2; text-align: auto; text-indent: =
>0px; text-transform: none; white-space: normal; widows: 2; word-spacing: =
>0px; -webkit-border-horizontal-spacing: 0px; =
>-webkit-border-vertical-spacing: 0px; =
>-webkit-text-decorations-in-effect: none; -webkit-text-size-adjust: =
>auto; -webkit-text-stroke-width: 0; "><div style=3D"font-family: arial, =
>helvetica, sans-serif; font-size: 12pt; margin-top: 0px; margin-right: =
>0px; margin-bottom: 0px; margin-left: 0px; "><div style=3D"margin-top: =
>0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Peter =
>Tscherkassky's Happy-End?<br></div><div style=3D"font-family: arial, =
>helvetica, sans-serif; font-size: 12pt; margin-top: 0px; margin-right: =
>0px; margin-bottom: 0px; margin-left: 0px; "><br>albert<br><br><div =
>style=3D"font-family: arial, helvetica, sans-serif; font-size: 13px; =
>margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: =
>0px; ">----- Mensaje original ----<br>De: Thomas Beard <<a =
>href=3D"mailto:email suppressed</a>><br>Para=
>: <a =
>href=3D"mailto:email suppressed</a=
>><br>Enviado: lunes, 28 de julio, 2008 15:54:39<br>Asunto: Perfect =
>Films<br><br>Hello Frameworkians,<br><br>I'm finishing up some research =
>right now on ready-mades in experimental<br>cinema--works like Ken =
>Jacobs's Perfect Film, Hollis Frampton's Work and<br>Days, Brian Frye's =
>Anatomy of Melancholy, etc.--and wanted to check in with<br>the list for =
>suggestions about related films.<br><br>Best,<br>Thomas<span =
>class=3D"Apple-converted-space">=A0</span><br><br><br>____________________=
>______________________________________________<br>For info on =
>FrameWorks, contact Pip Chodorov at <<a =
>ymailto=3D"mailto:email suppressed" =
>href=3D"mailto:email suppressed</a>>.<br></div></div></div=
>><br><hr size=3D"1"><br><font face=3D"Verdana" size=3D"-2">Enviado =
>desde<span class=3D"Apple-converted-space">=A0</span><a =
>href=3D"http://us.rd.yahoo.com/mailuk/taglines/isp/control/*http://us.rd.y=
>ahoo.com/evt=3D52431/*http://es.docs.yahoo.com/mail/overview/index.html">C=
>orreo Yahoo!</a><br>La bandeja de entrada m=E1s =
>inteligente.<br></font><p>________________________________________________=
>__________________ For info on FrameWorks, contact Pip Chodorov at =
><<a =
>href=3D"mailto:email suppressed</a>>.</p></span></blockquo=
>te></div><br></div></body></html>=
><p>
>__________________________________________________________________
>For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
><p>
>
>--Apple-Mail-7-581674015--
>
>------------------------------
>
>Date: Mon, 28 Jul 2008 08:50:44 -0700
>From: 40 Frames <email suppressed>
>Subject: Re: projector belt repair and home made belts?
>
>------=_Part_30584_17262927.1217260244529
>Content-Type: text/plain; charset=ISO-8859-1
>Content-Transfer-Encoding: 7bit
>Content-Disposition: inline
>
>On Mon, Jul 28, 2008 at 5:28 AM, amanda christie <email suppressed>wrote:
>
>>
>> any recommendations?
>> i've got an eiki, a bell and howell, and a lafayette, who need some special
>> belt lovin' care.
>>
>>
>
>Amanda,
>
>It would help to know the model numbers of each projector. Over time,
>companies used different belts for
>different models.
>
>
>Alain
>
>
>--
>40 FRAMES
>Alain LeTourneau
>Pamela Minty
>425 SE 3rd #400
>Portland, OR 97214
>United States
>
>+1 503 231 6548
>info(at)40frames(dot)org
>http://www.40frames.org
>
>
>__________________________________________________________________
>For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
>
>
>------=_Part_30584_17262927.1217260244529
>Content-Type: text/html; charset=ISO-8859-1
>Content-Transfer-Encoding: 7bit
>Content-Disposition: inline
>
><div dir="ltr"><br><br><div class="gmail_quote">On Mon, Jul 28, 2008 at 5:28 AM, amanda christie <span dir="ltr"><<a href="mailto:email suppressed</a>></span> wrote:<br><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
><br>
>any recommendations?<br>
>i've got an eiki, a bell and howell, and a lafayette, who need some special belt lovin' care.<br>
><br></blockquote><div><br><br>Amanda, <br><br>It would help to know the model numbers of each projector. Over time, companies used different belts for <br>different models. <br> </div></div><br><br>Alain<br><br clear="all">
><br>-- <br>40 FRAMES<br>Alain LeTourneau<br>Pamela Minty<br>425 SE 3rd #400<br>Portland, OR 97214<br>United States<br><br>+1 503 231 6548<br>info(at)40frames(dot)org<br>http://www.40frames.org<br>
>
></div>
><p>
>__________________________________________________________________
>For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
><p>
>
>------=_Part_30584_17262927.1217260244529--
>
>------------------------------
>
>Date: Mon, 28 Jul 2008 17:58:57 +0100
>From: Zev Robinson <email suppressed>
>Subject: Re: cliches
>
>Pointing out other people's cliches may be kinda fun(ny), but it's also
>kinda easy (kinda a cliche in itself). Cliches become cliches because
>there's something attractive about them, or at least there once was, and
>they may still be in certain contexts, or done a certain way.
>
>But when is a cliche just a cliche, and when isn't it? What's the
>difference between an archetype and a stereotype?
>
>Z
>
>
>__________________________________________________________________
>For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
>
>------------------------------
>
>Date: Mon, 28 Jul 2008 11:44:19 -0400
>From: Bruce Checefsky <email suppressed>
>Subject: Re: Perfect Films
>
>This is a multi-part message in MIME format.
>
>------=OPENWEBMAIL_ATT_0.455794332406612
>Content-Type: text/plain;
> charset=iso-8859-1
>
>Merliee Bennett's 'A Song of Air' (1987)
>Su Freidrich's 'The Ties that Bind' (1984) and 'Sink or Swim'
>
>Bruce Checefsky
>Director , Reinberger Galleries
>___________________________
>
>The Cleveland Institute of Art
>
>11141 East Boulevard
>Cleveland, OH 44106-1710
>T. 216-421-7407
>E. email suppressed
>www.cia.edu
>
>
>
>
>__________________________________________________________________
>For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
>
>
>------=OPENWEBMAIL_ATT_0.455794332406612
>Content-Type: text/html;
> charset=iso-8859-1
>Content-Transfer-Encoding: quoted-printable
>
><HTML>
><HEAD>
><META content=3D"text/html; charset=3Diso-8859-1" http-equiv=3DContent-Type>
><META content=3D"OPENWEBMAIL" name=3DGENERATOR>
></HEAD>
><BODY bgColor=3D#ffffff>
>
><font size=3D"2">Merliee Bennett's 'A Song of Air' (1987)
><br />Su Freidrich's 'The Ties that Bind' (1984) and 'Sink or Swim'
><br />
><br />
><br />
><br />Bruce Checefsky=20
>
><br />
>Director , Reinberger Galleries=20
>
><br />
>___________________________=20
>
><br />
>=20
><br />
>The Cleveland Institute of Art=20
>
><br />
>=20
><br />
>11141 East Boulevard=20
>
><br />
>Cleveland, OH 44106-1710=20=20
>
><br />
>T. 216-421-7407=20
>
><br />
>E. email suppressed=20
>
><br />
><a target=3D"_blank" href=3D"http://www.cia.edu/">www.cia.edu</a>=20
>
><br />
>
><br />
></font>
></BODY>
></HTML>
>
><p>
>__________________________________________________________________
>For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
><p>
>
>------=OPENWEBMAIL_ATT_0.455794332406612--
>
>------------------------------
>
>Date: Mon, 28 Jul 2008 09:14:18 -0700
>From: Myron Ort <email suppressed>
>Subject: Re: Perfect Films
>
>--Apple-Mail-1-583773977
>Content-Transfer-Encoding: 7bit
>Content-Type: text/plain;
> charset=US-ASCII;
> delsp=yes;
> format=flowed
>
>The filmmaker Morgan Fisher has stated that he came to realize his
>films were actually ready-mades. It makes sense to me.
>
>If I didn't see this discussed in Macdonald's "A Critical Cinema",
>then maybe it was something Fisher says in the series of riveting
>online clips in which he presents his films:
>
>http://www.youtube.com/watch?v=vjXcvTPLULM
>
>Myron Ort
>
>
>
>
>On Jul 28, 2008, at 6:54 AM, Thomas Beard wrote:
>
>> Hello Frameworkians,
>>
>> I'm finishing up some research right now on ready-mades in
>> experimental
>> cinema--works like Ken Jacobs's Perfect Film, Hollis Frampton's
>> Work and
>> Days, Brian Frye's Anatomy of Melancholy, etc.--and wanted to check
>> in with
>> the list for suggestions about related films.
>>
>> Best,
>> Thomas
>>
>>
>> __________________________________________________________________
>> For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
>>
>
>
>
>__________________________________________________________________
>For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
>
>
>--Apple-Mail-1-583773977
>Content-Transfer-Encoding: quoted-printable
>Content-Type: text/html;
> charset=ISO-8859-1
>
><html><body style=3D"word-wrap: break-word; -webkit-nbsp-mode: space; =
>-webkit-line-break: after-white-space; ">
>The filmmaker Morgan Fisher has stated that he came to realize his films =
>were actually ready-mades. It makes sense to me.<div><br></div><div>If I =
>didn't see this discussed in Macdonald's "A Critical Cinema", then maybe =
>it was something Fisher says in the series of riveting online clips in =
>which he presents his films:</div><div><div style=3D"margin-top: 0px; =
>margin-right: 0px; margin-bottom: 0px; margin-left: 0px; =
>"><br></div><div style=3D"margin-top: 0px; margin-right: 0px; =
>margin-bottom: 0px; margin-left: 0px; "><font face=3D"Helvetica" =
>size=3D"3" style=3D"font: 12.0px Helvetica"><a =
>href=3D"http://www.youtube.com/watch?v=3DvjXcvTPLULM">http://www.youtube.c=
>om/watch?v=3DvjXcvTPLULM</a></font></div><div style=3D"margin-top: 0px; =
>margin-right: 0px; margin-bottom: 0px; margin-left: 0px; =
>"><br></div><div style=3D"margin-top: 0px; margin-right: 0px; =
>margin-bottom: 0px; margin-left: 0px; ">Myron Ort</div><div =
>style=3D"margin-top: 0px; margin-right: 0px; margin-bottom: 0px; =
>margin-left: 0px; "><br></div><div style=3D"margin-top: 0px; =
>margin-right: 0px; margin-bottom: 0px; margin-left: 0px; =
>"><br></div><div style=3D"margin-top: 0px; margin-right: 0px; =
>margin-bottom: 0px; margin-left: 0px; "><br></div><div =
>style=3D"margin-top: 0px; margin-right: 0px; margin-bottom: 0px; =
>margin-left: 0px; "><br></div><div><div>On Jul 28, 2008, at 6:54 AM, =
>Thomas Beard wrote:</div><br =
>class=3D"Apple-interchange-newline"><blockquote type=3D"cite"><div =
>style=3D"margin-top: 0px; margin-right: 0px; margin-bottom: 0px; =
>margin-left: 0px; ">Hello Frameworkians,</div><div style=3D"margin-top: =
>0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; =
>min-height: 14px; "><br></div><div style=3D"margin-top: 0px; =
>margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">I'm finishing =
>up some research right now on ready-mades in experimental</div><div =
>style=3D"margin-top: 0px; margin-right: 0px; margin-bottom: 0px; =
>margin-left: 0px; ">cinema--works like Ken Jacobs's Perfect Film, Hollis =
>Frampton's Work and</div><div style=3D"margin-top: 0px; margin-right: =
>0px; margin-bottom: 0px; margin-left: 0px; ">Days, Brian Frye's Anatomy =
>of Melancholy, etc.--and wanted to check in with</div><div =
>style=3D"margin-top: 0px; margin-right: 0px; margin-bottom: 0px; =
>margin-left: 0px; ">the list for suggestions about related =
>films.</div><div style=3D"margin-top: 0px; margin-right: 0px; =
>margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><br></div><div =
>style=3D"margin-top: 0px; margin-right: 0px; margin-bottom: 0px; =
>margin-left: 0px; ">Best,</div><div style=3D"margin-top: 0px; =
>margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Thomas<span =
>class=3D"Apple-converted-space">=A0</span></div><div style=3D"margin-top: =
>0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; =
>min-height: 14px; "><br></div><div style=3D"margin-top: 0px; =
>margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: =
>14px; "><br></div><div style=3D"margin-top: 0px; margin-right: 0px; =
>margin-bottom: 0px; margin-left: 0px; =
>">__________________________________________________________________</div>=
><div style=3D"margin-top: 0px; margin-right: 0px; margin-bottom: 0px; =
>margin-left: 0px; ">For info on FrameWorks, contact Pip Chodorov at =
><<a href=3D"mailto:email suppressed</a>>.</div><div =
>style=3D"margin-top: 0px; margin-right: 0px; margin-bottom: 0px; =
>margin-left: 0px; min-height: 14px; "><br></div> =
></blockquote></div><br></div></body></html>=
><p>
>__________________________________________________________________
>For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
><p>
>
>--Apple-Mail-1-583773977--
>
>------------------------------
>
>End of FRAMEWORKS Digest - 28 Jul 2008 - Special issue (#2008-374)
>******************************************************************
__________________________________________________________________
For info on FrameWorks, contact Pip Chodorov at <email suppressed>.