From: Ken Paul Rosenthal (email suppressed)
Date: Tue Dec 08 2009 - 10:33:31 PST
www.crookedbeauty.comwww.kenpaulrosenthal.com
> Date: Tue, 8 Dec 2009 11:33:44 -0500
> From: email suppressed
> Subject: FRAMEWORKS Digest - 7 Dec 2009 to 8 Dec 2009 - Special issue (#2009-715)
> To: email suppressed
>
> There are 9 messages totalling 586 lines in this issue.
>
> Topics in this special issue:
>
> 1. looking for good intro text (2)
> 2. looking for good intro text - re Art Cinema & Belson resources (3)
> 3. Free 6-Plate Moviola in Los Angeles
> 4. Dreaming with Open Eyes - German Film and Media Art in Korea
> 5. remakes, reconstructions, or interpretations
> 6. new George Kuchar music video online
>
>
> __________________________________________________________________
> For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
>
>
> ----------------------------------------------------------------------
>
> Date: Mon, 7 Dec 2009 19:14:20 EST
> From: Jim Carlile <email suppressed>
> Subject: Re: looking for good intro text
>
> -------------------------------1260231260
> Content-Type: text/plain; charset="US-ASCII"
> Content-Transfer-Encoding: 7bit
>
>
> In a message dated 12/7/2009 2:23:39 P.M. Pacific Standard Time,
> email suppressed writes:
>
> I don't know what goes on in English schools these days, but the remedial
> tutor at the University where I teach has noted a decline in the quality of
> written english. She sees an increasing number of students who have
> problems with grammar, syntax, punctuation and how to structure an essay.
>
>
> The explanation for this is an easy one. Students don't read any more, so
> they have no models or examples. It's not just kids, either-- adults are
> just as bad.
>
> You learn to write by reading. How else? If you don't read much, you don't
> know what writing is supposed to look like.
>
> Jim C.
>
>
> __________________________________________________________________
> For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
>
>
> -------------------------------1260231260
> Content-Type: text/html; charset="US-ASCII"
> Content-Transfer-Encoding: quoted-printable
>
> <!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
> <HTML><HEAD>
> <META http-equiv=3DContent-Type content=3D"text/html; charset=3DUS-ASCII">
> <META content=3D"MSHTML 6.00.6000.16890" name=3DGENERATOR></HEAD>
> <BODY id=3Drole_body style=3D"FONT-SIZE: 10pt; COLOR: #000000; FONT-FAMILY=
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> ole_document=20
> face=3DArial color=3D#000000 size=3D2>
> <DIV>
> <DIV>In a message dated 12/7/2009 2:23:39 P.M. Pacific Standard Time,=20
> email suppressed writes:</DIV>
> <BLOCKQUOTE=20
> style=3D"PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: blue 2px solid"=
> ><FONT=20
> style=3D"BACKGROUND-COLOR: transparent" face=3DArial color=3D#000000 siz=
> e=3D2>I don't=20
> know what goes on in English schools these days, but the remedial tutor=
> at the=20
> University where I teach has noted a decline in the quality of written=
> =20
> english. She sees an increasing number of students who have problems wit=
> h=20
> grammar, syntax, punctuation and how to structure an=20
> essay.</FONT></BLOCKQUOTE></DIV>
> <DIV></DIV>
> <DIV>The explanation for this is an easy one. Students don't read any more=
> , so=20
> they have no models or examples. It's not just kids, either-- adults are=
> just as=20
> bad.</DIV>
> <DIV> </DIV>
> <DIV>You learn to write by reading. How else? If you don't read much, you=
> don't=20
> know what writing is supposed to look like.</DIV>
> <DIV> </DIV>
> <DIV>Jim C.</DIV></FONT></BODY></HTML>
> <p>
> __________________________________________________________________
> For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
> <p>
>
> -------------------------------1260231260--
>
> ------------------------------
>
> Date: Mon, 7 Dec 2009 17:30:59 -0800
> From: C Keefer <email suppressed>
> Subject: Re: looking for good intro text - re Art Cinema & Belson resources
>
> We've seen a copy of Art Cinema and are disappointed about its errors and inaccuracies.
>
> Example, all 3 sections which mention Jordan Belson contain errors. Belson was not, of course, a pioneer in liquids and overhead projectors, nor did he use these at The Vortex Concerts in 1957-1959.
>
> His optical bench was not similar to John Whitney, Sr.'s, nor the machine described in Art Cinema (as confirmed by Belson). Credits for his film Epilogue (2005) are incorrect here; Belson was not the producer or editor, he is the Director. The Editor was David Lebrun, Producer was Cindy Keefer.
>
> That's just a few...perhaps we should put at least the Belson corrections online on CVM's Belson Research pages.
> www.centerforvisualmusic.org/Belson
>
> Re the Belson and Vortex topic, a very short essay derived from my current research has been published in Leonardo Electronic Alamanac. See second half, re Vortex Concerts.
>
> Keefer, Cindy. 'Raumlichtmusik' - Early 20th Century Abstract Cinema Immersive Environments. Leonardo Electronic Almanac, Creative Data Special Issue. Leonardo: The International Society for the Arts, Sciences, and Technology, and MIT Press. October 2009. PDF.
>
> http://www.leonardo.info/LEA/CreativeData/CD_Keefer.pdf
>
> best regards,
> Cindy Keefer
> Center for Visual Music
> www.centerforvisualmusic.org
>
>
>
> >---- Original message ----
> >>Date: Sun, 6 Dec 2009 16:35:17 -0500
> >>From: Experimental Film Discussion List <email suppressed>)
> >>Subject: Re: looking for good intro text
> >>To: email suppressed
> >>
> >>Hi Bernie--------
> >>
> >>You will probably not like this message.
> >>
> >>But yesterday I received my copy of a new Taschen book, Art Cinema
> >>(9783822835944), that takes a swipe at the huge project of connecting cinema, in
> >>its origins and full sweep as art, with the contemporary art media. In it you
> >>will find Bresson, Pipilotti Rist, Aernout Mik, Len Lye, Muehl, Sharits, Arrabal,
> >>Tracey Moffatt, Dreyer, Greenaway, etc. etc. (but no community-based video at
> >>all). Of course this book is a failure, but it connects viscerally with things
> >>students are interested in (sex, surrealism, movies), and is loaded with pix and
> >>lite on text. In fact, I will consider it as a textbook for certain of my own
> >>classes.
> >>
>
>
>
>
> __________________________________________________________________
> For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
>
> ------------------------------
>
> Date: Mon, 7 Dec 2009 20:45:24 -0500
> From: "Patricia R. Zimmermann" <email suppressed>
> Subject: Re: looking for good intro text - re Art Cinema & Belson resources
>
> Cindy:
>
> Great points--you have vast archival knowledge on Belson.
>
> Have you considered writing this post up as a review article for maybe AFTERIMAGE or THE MOVING IMAGE? It's a provocative critique
>
> Abrazos
>
> Patty
>
> -------
> Patricia R. Zimmermann, Ph.D.
> Professor, Cinema, Photography and Media Arts
> Roy H. Park School of Communications
> Codirector, Finger Lakes Environmental Film Festival
> Division of Interdisciplinary and International Studies
> 953 Danby Road
> Ithaca College
> Ithaca, New York 14850 USA
> Office: +1 (607) 274 3431
> FAX: +1 (607) 274 7078
> http://faculty.ithaca.edu/patty/
> http://www.ithaca.edu/fleff
> BLOG: http://www.ithaca.edu/fleff10/blogs/open_spaces/
> email suppressed
>
>
> ---- Original message ----
> >Date: Mon, 7 Dec 2009 17:30:59 -0800
> >From: Experimental Film Discussion List <email suppressed>)
> >Subject: Re: looking for good intro text - re Art Cinema & Belson resources
> >To: email suppressed
> >
> >We've seen a copy of Art Cinema and are disappointed about its errors and inaccuracies.
> >
> >Example, all 3 sections which mention Jordan Belson contain errors. Belson was not, of course, a pioneer in liquids and overhead projectors, nor did he use these at The Vortex Concerts in 1957-1959.
> >
> >His optical bench was not similar to John Whitney, Sr.'s, nor the machine described in Art Cinema (as confirmed by Belson). Credits for his film Epilogue (2005) are incorrect here; Belson was not the producer or editor, he is the Director. The Editor was David Lebrun, Producer was Cindy Keefer.
> >
> >That's just a few...perhaps we should put at least the Belson corrections online on CVM's Belson Research pages.
> >www.centerforvisualmusic.org/Belson
> >
> >Re the Belson and Vortex topic, a very short essay derived from my current research has been published in Leonardo Electronic Alamanac. See second half, re Vortex Concerts.
> >
> >Keefer, Cindy. 'Raumlichtmusik' - Early 20th Century Abstract Cinema Immersive Environments. Leonardo Electronic Almanac, Creative Data Special Issue. Leonardo: The International Society for the Arts, Sciences, and Technology, and MIT Press. October 2009. PDF.
> >
> >http://www.leonardo.info/LEA/CreativeData/CD_Keefer.pdf
> >
> >best regards,
> >Cindy Keefer
> >Center for Visual Music
> >www.centerforvisualmusic.org
> >
> >
> >
> >>---- Original message ----
> >>>Date: Sun, 6 Dec 2009 16:35:17 -0500
> >>>From: Experimental Film Discussion List <email suppressed>)
> >>>Subject: Re: looking for good intro text
> >>>To: email suppressed
> >>>
> >>>Hi Bernie--------
> >>>
> >>>You will probably not like this message.
> >>>
> >>>But yesterday I received my copy of a new Taschen book, Art Cinema
> >>>(9783822835944), that takes a swipe at the huge project of connecting cinema, in
> >>>its origins and full sweep as art, with the contemporary art media. In it you
> >>>will find Bresson, Pipilotti Rist, Aernout Mik, Len Lye, Muehl, Sharits, Arrabal,
> >>>Tracey Moffatt, Dreyer, Greenaway, etc. etc. (but no community-based video at
> >>>all). Of course this book is a failure, but it connects viscerally with things
> >>>students are interested in (sex, surrealism, movies), and is loaded with pix and
> >>>lite on text. In fact, I will consider it as a textbook for certain of my own
> >>>classes.
> >>>
> >
> >
> >
> >
> >__________________________________________________________________
> >For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
>
>
> __________________________________________________________________
> For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
>
> ------------------------------
>
> Date: Mon, 7 Dec 2009 19:40:11 -0800
> From: Adam Levine <email suppressed>
> Subject: Free 6-Plate Moviola in Los Angeles
>
> Plus trim bin! Bulb/screen works and plates all spin without friction. The
> machine could do with a small cosmetic clean up though it is in good
> working order. I have thoroughly cleaned the inside with canned air and
> scrubbed all the transports. Email me for any further details or pictures.
>
> Free to the first person who can come and take it off my hands sometime
> this week, but be warned - this thing is HEAVY.
>
>
> Adam
>
>
> __________________________________________________________________
> For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
>
> ------------------------------
>
> Date: Mon, 7 Dec 2009 23:09:57 -0500
> From: Tony Conrad <email suppressed>
> Subject: Re: looking for good intro text - re Art Cinema & Belson resources
>
> Thanks Cindy----------
>
> ...for showing that careful academic reading and research have demonstrable value.
>
> ------t0ny
>
>
>
> On Mon 12/07/09 8:30 PM , C Keefer email suppressed sent:
> > We've seen a copy of Art Cinema and are disappointed about its errors and
> > inaccuracies.
> > Example, all 3 sections which mention Jordan Belson contain errors. Belson
> > was not, of course, a pioneer in liquids and overhead projectors, nor did
> > he use these at The Vortex Concerts in 1957-1959.
> > His optical bench was not similar to John Whitney, Sr.'s, nor the machine
> > described in Art Cinema (as confirmed by Belson). Credits for his film
> > Epilogue (2005) are incorrect here; Belson was not the producer or editor,
> > he is the Director. The Editor was David Lebrun, Producer was Cindy
> > Keefer.
> > That's just a few...perhaps we should put at least the Belson corrections
> > online on CVM's Belson Research pages. www.
> > centerforvisualmusic.org/Belson
> > Re the Belson and Vortex topic, a very short essay derived from my current
> > research has been published in Leonardo Electronic Alamanac. See second
> > half, re Vortex Concerts.
> > Keefer, Cindy. 'Raumlichtmusik' - Early 20th Century Abstract Cinema
> > Immersive Environments. Leonardo Electronic Almanac, Creative Data Special
> > Issue. Leonardo: The International Society for the Arts, Sciences, and
> > Technology, and MIT Press. October 2009. PDF.
> > http://www.leonardo.info/LEA/CreativeData/CD_Keefer.pdf
> > best regards,
> > Cindy Keefer
> > Center for Visual Music
> > www.centerfor
> > visualmusic.org
> >
> >
> > >---- Original message ----
> > >>Date: Sun, 6 Dec 2009 16:35:17
> > -0500>>From: Experimental Film Discussion List
> > email suppressed> (on behalf of Tony Conrad FALO.EDU>)>>Subject: Re: looking for good intro text
> > >>To: F
> > email suppressed>>
> > >>Hi Bernie--------
> > >>
> > >>You will probably not like this
> > message.>>
> > >>But yesterday I received my copy of a new
> > Taschen book, Art Cinema>>(9783822835944), that takes a swipe at the
> > huge project of connecting cinema, in>>its origins and full sweep as art, with the
> > contemporary art media. In it you>>will find Bresson, Pipilotti Rist, Aernout
> > Mik, Len Lye, Muehl, Sharits, Arrabal,>>Tracey Moffatt, Dreyer, Greenaway, etc.
> etc.
> > (but no community-based video at>>all). Of course this book is a failure, but
> > it connects viscerally with things>>students are interested in (sex, surrealism,
> > movies), and is loaded with pix and>>lite on text. In fact, I will consider it as
> > a textbook for certain of my own>>classes.
> > >>
> >
> >
> >
> >
> > __________________________________________________________________
> > For info on FrameWorks, contact Pip Chodorov at om>.
> >
> >
> >
> >
>
>
> __________________________________________________________________
> For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
>
> ------------------------------
>
> Date: Tue, 8 Dec 2009 00:44:07 -0800
> From: Chuck Kleinhans <email suppressed>
> Subject: Re: looking for good intro text
>
> In continuation of Patty Zimmerman's points about new media and
> pedagogy, one of the smartest articles I know on the subject, from
> Alex Juhasz based on her experience teaching a course on YouTube
>
> http://aljean.wordpress.com/tag/learning-from-youtube/
>
> Her site/blog covers a lot of terrain and is well worth exploring:
>
> http://aljean.wordpress.com/
>
> Chuck Kleinhans
>
>
> __________________________________________________________________
> For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
>
> ------------------------------
>
> Date: Fri, 13 Nov 2009 12:15:25 +0100
> From: Das Robi <email suppressed>
> Subject: Dreaming with Open Eyes - German Film and Media Art in Korea
>
> *Dreaming with Open Eyes*
> curated by Robert Seidel
>
> Date: 2009.11.01 - 2009.11.30
> Venue: COMO (SKT-Tower, Seoul) and Open Theatre (Tomorrow City
> Echo Plaza, Incheon)
> Entrance Fee: free
> Organization: Art Center Nabi, SK Telecom
> Program Partner: Goethe-Institute Seoul, Robert Seidel
>
> Artists: Julian Rosefeldt, Yves Netzhammer, Carsten Nicolai,
> Bjørn Melhus, Zeitguised, Philipp Hirsch, David OReilly, Max
> Hattler, Volker Schreiner, Daniel Burkhardt, Christiane Wöhler,
> Julia Oschatz, Thorsten Fleisch, Astrid Rieger, Niklas Goldbach,
> Barbara Hlali, Timo Katz, Robert Seidel and Jan Verbeek
>
> The programme "Dreaming with Open Eyes" part of "German
> Inspiration" exhibtion shows 19 different positions of artists.
> Their short films are little poems with a dream-like quality
> that is freed from our everyday life. They are arranged like
> the stages of an ambivalent dream: oscillating between an
> infantile playfulness, the strength of a heterotopic,
> repetitive architecture, dreamscapes embedded in a romanticized
> nature or nightmarish states showing the collapse of humanity
> and science. And each of these very unique moments holds the
> promise to be watched again, while a dream is lost in its
> pure linearity after we wake up...
>
> A catalog will be published end 2009 by Art Center Nabi.
>
> Robert Seidel, Curator and Filmmaker
>
> Detailed Information:
> http://www.nabi.or.kr/english/project/coming_read.nab?list_num=1&idx=311&
> http://www.robertseidel.com
>
>
> __________________________________________________________________
> For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
>
> ------------------------------
>
> Date: Tue, 8 Dec 2009 11:12:38 -0500
> From: Bruce Checefsky <email suppressed>
> Subject: remakes, reconstructions, or interpretations
>
> Thanks to everyone that responded to my inquiry. Keep the suggestions coming. i'm seeking short experimental films based on original films either as remakes, reconstructions, or interpretations. Send your DVD's to:
>
> BRUCE CHECEFSKY | Director, Reinberger Galleries
> Voice: 216-421-7407 | email suppressed
> The Cleveland Institute of Art | 11141 East Boulevard, Cleveland, OH 44106
>
>
> __________________________________________________________________
> For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
>
> ------------------------------
>
> Date: Tue, 8 Dec 2009 11:33:38 -0500
> From: Andy Ditzler <email suppressed>
> Subject: new George Kuchar music video online
>
> This is a multipart message in MIME format.
>
> ------=_NextPart_000_002D_01CA77FA.491C9620
> Content-Type: text/plain;
> charset="us-ascii"
> Content-Transfer-Encoding: 7bit
>
> Hello,
>
>
>
> I'm delighted to report that George Kuchar and his Studio 8 Players have
> completed a music video for my "pagan Christmas" holiday song, "Solstice."
> It's available at the Frequent Small Meals website,
> www.frequentsmallmeals.com
>
>
>
> We hope you enjoy it!
>
>
>
> Andy Ditzler
>
> Frequent Small Meals
>
> Atlanta, GA
>
> www.frequentsmallmeals.com
>
>
>
>
>
> __________________________________________________________________
> For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
>
>
> ------=_NextPart_000_002D_01CA77FA.491C9620
> Content-Type: text/html;
> charset="us-ascii"
> Content-Transfer-Encoding: quoted-printable
>
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> <p class=3DMsoNormal>Hello,<o:p></o:p></p>
>
> <p class=3DMsoNormal><o:p> </o:p></p>
>
> <p class=3DMsoNormal>I’m delighted to report that George Kuchar =
> and his
> Studio 8 Players have completed a music video for my “pagan =
> Christmas”
> holiday song, “Solstice.” It’s available at the =
> Frequent
> Small Meals website, <a =
> href=3D"http://www.frequentsmallmeals.com">www.frequentsmallmeals.com</a>=
> <o:p></o:p></p>
>
> <p class=3DMsoNormal><o:p> </o:p></p>
>
> <p class=3DMsoNormal>We hope you enjoy it!<o:p></o:p></p>
>
> <p class=3DMsoNormal><o:p> </o:p></p>
>
> <p class=3DMsoNormal>Andy Ditzler<o:p></o:p></p>
>
> <p class=3DMsoNormal>Frequent Small Meals<o:p></o:p></p>
>
> <p class=3DMsoNormal>Atlanta, GA<o:p></o:p></p>
>
> <p class=3DMsoNormal><a =
> href=3D"http://www.frequentsmallmeals.com">www.frequentsmallmeals.com</a>=
> <o:p></o:p></p>
>
> <p class=3DMsoNormal><o:p> </o:p></p>
>
> </div>
>
> </body>
>
> </html>
> <p>
> __________________________________________________________________
> For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
> <p>
>
> ------=_NextPart_000_002D_01CA77FA.491C9620--
>
> ------------------------------
>
> End of FRAMEWORKS Digest - 7 Dec 2009 to 8 Dec 2009 - Special issue (#2009-715)
> *******************************************************************************
_________________________________________________________________
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__________________________________________________________________
For info on FrameWorks, contact Pip Chodorov at <email suppressed>.