[-empyre-] y, and now books
christopher sullivan
csulli at saic.edu
Tue Feb 23 13:43:17 EST 2010
as far as non animation books, I like Bird by Bird by Anne Lamont.
and That Bowling Alley On The Tibor, by Antonionni
I also like the Pixar "art of" books a lot.
and Word to Image by Marcie Begleiter . Chris.
Quoting Suzanne Buchan <sbuchan at ucreative.ac.uk>:
> This is a bit of a late response to the post about books for teaching.
>
> As a student in the 90s, I combed (and continue to do so still) the Film
> Studies and other libraries at the University of
> Zurich for anything on animation – there was very little published on
> animation studies then –
> and found hundreds of chapters, essays and articles. The case remains today
> that there
> aren't many 'good' rigorous books on animation (yet), but the increase in PhD
> students is
> promising as they will make solid contributions, as Eric points out. As it
> stand I don't use
> many of the books on animation that are published, as I find them too broad,
> their corpi too
> narrow, or simply not rigorous enough. Animators need to be aware of the
> contexts of film
> studies, fine art practice, philosophy, and critical theory, and I teach them
> how to locate
> themselves within this wider framework of moving image practice.
>
> To the list of journals you could add the relatively new
> animation: an interdisciplinary journal (http://anm.sagepub.com/)
> published 3x year since 2006.
>
> The journal's scope is very comprehensive, yet its focus is clear and simple.
>
> It addresses all animation made using all known (and yet to be developed)
> techniques - from
> 16th century optical devices to contemporary digital media - revealing its
> implications on other
> forms of time-based media expression past, present and future. It is also
> exploring the boundaries
> that Simon queried in his post about qestioning Cartesian space.
>
> It 'does what it says on the tin' and addresses interdisciplinarity in
> arts-based, non-
> commercial animation and tries to break the hedgemonies of western production
> and the
> rather limited canons that are usually the focus of most writing (MacLaren,
> Aardman, Disney,
> Pixar,, etc etc). It is also deeply engaging with practice, and many of its
> authors are filmmakers and artists.
> fFr instance, it has published on Jeremy Blake, animation & biomimetic
> architecture, Robert Seidel's _grau, Thorsten Fleisch, art installations,
> etc.
> The next issue is a pecial Issue on Stan Vanderbeek,and it pushes the
> boundaries of
> definitions of animation in pure and digital formats.
>
> While I tend to use film and critical theory texts to teach students – as
> they are filmmakers,
> after all, there are some useful books that focus specifically on animation.
> I've included a few
> of the titles I've used over the years, in teaching animation history,
> theory and aesthetics:
>
> Bachelard, Gaston. The Poetics of Space. Transl. Maria Jolas, 1964. 1958.
> Boston: Beacon Press, 1994.
> Bordwell, David and Kristin Thompson. Film Art: An Introduction. (4th
> edition) New York etc: McGraw Hill, Inc., 1993.
> Chion, Michel. Audio-Vision. Sound on Screen. Transl. Claudia Gorbman. New
> York: Columbia University Press, 1994.
>
> Crafton, Donald. Before Mickey. The Animated Film 1898-1928. Cambridge: MIT
> Press, 1984, pgs 35-58. (whole book invaluable for Pre-sound animation)
> Buchan, Suzanne (ed) . Animated 'Worlds', Eastleigh: John Libbey, 2006.
> Furniss, Maureen. Art in Motion. Animation Aesthetics. London: John Libbey,
> 1998
>
> Halas, John & Roger Manvell, The Technique of Film Animation, London: Focal
> Press, 1978.
> Goodman, Nelson. Languages of Art. [1961]. Indianapolis/Cambridge: Hackett
> Publishing Company, Inc., 2nd Edition, 1976.
> Hames, Peter (ed.). Dark Alchemy. The Films of Jan Svankmajer. London: Flicks
> Books, 1995.
> Hans Richter by Hans Richter. Cleve Gray (Ed.). London: Thames and Hudson,
> 1971
> Kahn, Douglas. Noise Water Meat. A History of Sound in the Arts. (1999)
> London and Cambridge: The MIT Press, 1999. Pbk. 2001
> Lawder, Standish. The Cubist Cinema, New York: 1975, pgs. 35-64
> Mendelson, Lois. Robert Breer, A Study of his Work in the Context of the
> Modernist Tradition. Ann Arbor: UMI Research Press, 1981. Pp 55-105.
> Wees, William. Light Moving in Time. Oxford etc: University of California
> Press, 1992. pp. 123-153.
> Sobchack, Vivian, Meta-Morphing. Visual Transformation and the Culture of
> Quick-Change. Vivian Sobchack (ed.). Miinneapolis: University of Minnesota
> Press, 2000..
> Klein, N,. 7 Minutes. The Life and Death of the American Animated Cartoon.
> London and New York: Verso, 1993
> Manovich. Lev. “Digital Cinema and the History of a Moving Image”. In: ibid.
> The Language of New Media, Cambridge and London: The MIT Press, 2001. Pgs
> 293-308.
> Russett, Robert & Cecile Starr. Experimental Animation. New York: Reinhold
> 1976, pgs.57-71
> Walt in wonderland : the silent films of Walt Disney = Nel paese delle
> meraviglie / Russell Merritt, J. B. Kaufman ; [trad. di Piera Patat]. –
> [Pordenone] : Le Giornate del Cinema Muto [etc.], © 1992.
> Before Mickey : the animated film 1898–1928 / Donald Crafton ; [forew. by
> Otto Messmer ]. – Cambridge, Massachusetts [etc.] : MIT Press, © 1982
> Zelinski, Siegfried. Deep Time of the Media. Towards an Archaeology of
> Hearing and Seeing by Technical Means. Translated by Gloria Custance.
> Cambridge and London: The MIT Press, 2006.
>
>
> I'd be interested to know if any of you use 'non-animation' texts in your
> teaching.
>
> Suzanne
>
>
>
> -----Original Message-----
> From: empyre-bounces at lists.cofa.unsw.edu.au on behalf of christopher
> sullivan
> Sent: Fri 2/19/2010 20:00
> To: soft_skinned_space; Richard Wright
> Cc: soft_skinned_space
> Subject: [-empyre-] y, and now books
>
> understanding animation well
> unsung heroes of animation robinson
> sharpest point Rencke
>
>
>
> Quoting Richard Wright <futurenatural at blueyonder.co.uk>:
>
> > Hi there,
> > thanks for these pointers Eric. I've been doing a lot of broadcast
> > documentary graphics in the last year and have become more aware of
> > how it is approached from that direction. We often find ourselves
> > mixing more strictly information graphics with data visualisation
> > techniques, such as for representing certain geological terrains, but
> > not entirely because it is a "true" or accurate record - often it is
> > for reasons of being technically propitious or being visually
> > suggestive in itself. (Tip - Death Valley is useful for virtually any
> > kind of landscape purpose).
> >
> > At the risk of suddenly breezing on, I have another question for
> > everyone. Does anyone have any favourite animation theory or
> > animation studies books they find particularly useful in the
> > classroom? Especially for explaining concepts to or for stimulating
> > ideas in practitioners. The last interesting one I read was "The
> > Sharpest Point", although as an anthology it did not have to develop
> > a single line of argument. And Norman Klein is always a fun read
> > (hopefully for students as well!).
> >
> > Richard
> >
> > On 18 Feb 2010, at 18:50, Eric Patrick wrote:
> >
> > > Hi Richard,
> > >
> > > This is really fascinating stuff... not my area of expertise, but
> > > Fernanda Viegas of IBM research in Cambridge is doing some of this
> > > sort of work (http://manyeyes.alphaworks.ibm.com/manyeyes/).
> > > Probably what we see more of in our little animation neck of the
> > > woods is info-graphics for visualization: http://vimeo.com/
> > > 3261363. Perhaps Paul is still around and may have some
> > > interesting sources to add.
> > > Sorry can't be of more help...
> > >
> > > ep
> > >
> > >
> > >
> > > ==============Original message text===============
> > > On Tue, 16 Feb 2010 5:25:13 pm CST Richard Wright wrote:
> > >
> > > Hi there,
> > > I just wanted to respond to a couple of recent posts about animated
> > > documentary and those thorny indexicality questions.
> > >
> > > I once wrote a proposal called "Data Visualisation as the Successor
> > > to Documentary Film Making" (thinking actually of animated film
> > > making). I wonder if Paul or Erik or anyone else had any thoughts
> > > about this possibility of taking data records and animating them?
> > > Either directly and algorithmically or using more interpretative or
> > > even non-digital techniques? The source of the data and the
> > > circumstances in which it was obtained can also create difficult
> > > ethical questions, quite apart from questions of veracity (they might
> > > have been obtained under torture for example).
> > >
> > > There are very few film examples of this I can think of, not even my
> > > own. One of the few is Aaron Koblin's "Flight Patterns" (http://
> > > www.aaronkoblin.com/work/flightpatterns) and another is Jane
> > > Marsching's "Rising North" (http://www.flickr.com/photos/
> > > efimeravulgata/3496999939 for a view of the installation version of
> > > the video). Andrea Polli possibly. Much of it to do with climate
> > > change data. I'm not mentioning these specific ones because I
> > > particularly like them (the "Rising North" piece, for instance, looks
> > > a bit too much to me like deciphering a multimedia interface). But I
> > > was struggling to think of any others and I wondered if anyone else
> > > knew of any film makers that were moving in this direction...
> > >
> > > Richard
> > >
> > > On 15 Feb 2010, at 18:37, Paul Ward wrote:
> > >
> > >> Hi, it's me again!
> > >>
> > >> A couple of my main research interests are Animation (quelle
> > >> surprise!) and Documentary, and I've been looking into how
> > >> animation and nonfiction work together (or not) for some time now.
> > >>
> > >> See Chapter 5 of my book "Documentary: The Margins of
> > >> Reality" (Wallflower, 2005); plus "Animated interactions: animation
> > >> aesthetics and the 'interactive' documentary" in S. Buchan (ed.)
> > >> with David Surman and Paul Ward (Associate Eds.) Animated
> > >> 'Worlds' (John Libbey, 2006). The latter discusses 'Going Equipped'
> > >> alongside Bob Sabiston's 1999 short 'Snack and Drink'
> > >>
> > >> I think the idea of animation as a 'filter' is apposite - it is the
> > >> filter through which re-presentations of real people and events are
> > >> 'creatively treated' (to echo John Grierson again). This also makes
> > >> some interesting possible connections to animation and memory, or
> > >> animation and states of mind, and how these areas overlap (or
> > >> contrast) with 'documentary'. Animations like 'Waltz with Bashir',
> > >> 'Persepolis' or Andy Glynne's short films 'Animated minds' (about
> > >> mental health) are all, arguably, sub-types of the animated
> > >> documentary category, but approach it in very different ways
> > >>
> > >> best wishes
> > >>
> > >> Paul
> > >>
> > >>
> > >> ________________________________
> > >>
> > >> From: empyre-bounces at lists.cofa.unsw.edu.au on behalf of
> > >> christopher sullivan
> > >> Sent: Sun 14/02/2010 18:22
> > >> To: soft_skinned_space; Suzanne Buchan
> > >> Cc: soft_skinned_space
> > >> Subject: Re: [-empyre-] CG and all things fuzzy, and some thoughts
> > >> on ethics
> > >>
> > >>
> > >>
> > >> Hi Suzanne, thanks for the generous discussion. As a "practitioner"
> > >> I will say
> > >> that I am really not too bothered by the issues of representation,
> > >> and truth, or
> > >> authenticity, I think those are interesting points of discussion,
> > >> but nothing
> > >> that will ever be cured. but are we really that confused in the
> > >> theater? I have
> > >> found that children for instance have very clear understandings of
> > >> what is real,
> > >> what is manipulated, what is fantasy. the idea that media is
> > >> continuously lying
> > >> to us, can also lead to a lot of political empathy,
> > >> I teach an alternative animation history class, and one of
> > >> our weeks we
> > >> show all non fiction animation.
> > >> here is the week.
> > >> Reading: Understanding Animation, chapter 3 Narrative strategies.
> > >> 68-92
> > >>
> > >> Week 6 October 19th NON FICTION-
> > >> These films all use animations power to manifest images that have
> > >> no filmic
> > >> record. The result is a curious take on truth and representation..
> > >> Is there an
> > >> emotional safety in these cartoony depictions, of otherwise
> > >> unbearable images?
> > >>
> > >> Roger Ebert , speaking about Grave of the Fire flies.
> > >> John and Faith Hubley. Sample 1960-75 The Dara Dogs. Denise
> > >> Topicoff.
> > >> -A is for Autism, Tim Web 1998. Champaine by Michael Sporn.
> > >> Some Protection, Marjut Rimmenen,1987 -Brother, Adam Benjamin
> > >> Elliot 2003-
> > >> Going Equipped ,Peter Lords 1989 -Abductees , Paul Vesters 1998
> > >> The Fetishist, Jim Trainer 1998- Ryan, Chris Landrithe 2003
> > >> A Room Near By, still life with animated dogs, Paul Ferlinger
> > >> 2002- 2004
> > >>
> > >> these films all deal with the strange in between possibilities of
> > >> animation as a
> > >> filter for truth. I often show Ryan this week also, The students
> > >> are always
> > >> interested in discussing the inclusion of Chris Landreth in the
> > >> film. it is
> > >> both interesting and problematic, that his desire to implicate the
> > >> documenter,
> > >> is also very problematic. does he truly believe that his state of
> > >> crisis
> > >> parallels Ryan Larkin, in a SRO facility?
> > >>
> > >> I argue that the real issue of representation through animation is
> > >> not nearly so
> > >> complicated. and why do we have to create a theoretical censoring
> > >> bureau,
> > >> just make the work, and let it hit people, all sloppy and imperfect.
> > >> do the questions below really need to be brought to some kind of
> > >> conclusion?
> > >> is it truly a crisis?
> > >>
> > >>
> > >> "The increasing convergence, barrage and resulting pervasiveness of
> > >>> manipulated imagery, including traditional and digital animation,
> > >>> has
> > >>> overwhelmed many of its viewers, and this has pressing philosophical
> > >>> and ethical connotations. In terms of the status of indexicality
> > >>> and truth
> > >>> claims of the visual, in 1998 Elsaesser suggested a crisis was
> > >>> evolving:
> > >>> "Any technology that materially affects this status, and
> > >>> digitization
> > >>> would seem to be such a technology, thus puts in crisis deeply-held
> > >>> beliefs about representation and visualization, and many of the
> > >>> discourses - critical, scientific or aesthetic - based on, or
> > >>> formulated
> > >>> in the name of the indexical in our culture, need to be re-
> > >>> examined."
> > >>
> > >> as media professors, I think we have to also challenge media
> > >> literacy Dogma
> > >> which implies that all viewers are completely at the mercy of the
> > >> moving image.
> > >> once something is digital, sorry Lev, but it means nothing, it is a
> > >> technical
> > >> expedient.
> > >>
> > >> Animators have the opportunity to carve out new and wonderful ways
> > >> of creating
> > >> work and bringing subjects to the screen that were not possible
> > >> before.
> > >> A true act of political subversion is the recent screening of Don
> > >> Hertsfeilds
> > >> new films. the audience came to see funny. instead they saw an
> > >> amazing maturing
> > >> of his work into a dark and beautiful piece that made me weep
> > >> several times.
> > >> He really seized the moment to talk about something important.
> > >>
> > >> I say let's focus on content, not media, and get to work making the
> > >> films that
> > >> we feel must be made. Chris
> > >>
> > >>
> > >>
> > >> Quoting Suzanne Buchan <sbuchan at ucreative.ac.uk>:
> > >>
> > >>>
> > >>> Renate
> > >>>
> > >>> (I can't turn off HTML on the email I'm suing, so I hope the
> > >>> inserted line
> > >>> breaks improve reading.)
> > >>>
> > >>> Many practice-based animation and film programmes - as well as
> > >>> photography
> > >>> and design -
> > >>> are increasingly replacing analogue with digital, with all the
> > >>> implications.
> > >>> While I'm not a hands-on 'practitioner' per se - I don't teach
> > >>> practice - I
> > >>> can say that
> > >>> my university has two programmes, and both use digital tools but
> > >>> foreground
> > >>> fine arts-based style, process and students attend life-drawing
> > >>> classes.
> > >>> There are others who follow the same material-based philosophy,
> > >>> including
> > >>> Simon's and the RCA' this is not, however, representative of the
> > >>> wider
> > >>> general
> > >>> shift to digital.
> > >>>
> > >>> With the current disastrous funding cuts at HEIs in the UK, a
> > >>> room of
> > >>> computers is more sustainable than puppet animation studios and
> > >>> art rooms; hence it is becoming digital almost everywhere. This has
> > >>> implications on how students learn, speeds up production instead of
> > >>> slowing down, the process of drawing, painting and model building
> > >>> is very much part of developing narrative, and good analogue films
> > >>> need time. Others here in empyre who are practice-based can probably
> > >>> answer your question better.
> > >>>
> > >>> Your question about CGI brings me to another set of thoughts about
> > >>> the
> > >>> digital and the artefact and some ethical implications that arise
> > >>> from the
> > >>> use of CGI in animation and film. Since the digital shift, the
> > >>> manipulated
> > >>> moving image has been the focus of heated debates around
> > >>> representation,
> > >>> truth values and ethical responsibility of its commissioners,
> > >>> makers and
> > >>> distributors. The unreliablility of the photographic image as it
> > >>> became
> > >>> enhanced or altered by digital technologies has had a profound
> > >>> effect
> > >>> on audiences, a topic thematised by Thomas Elsaesser, Lev Manovich
> > >>> and Siegfried Zielinski, ethical philosopher Jane Bennett (The
> > >>> Enchantment
> > >>> of Modern Life, 2001) and by others who may be on empyre.
> > >>>
> > >>> The increasing convergence, barrage and resulting pervasiveness of
> > >>> manipulated imagery, including traditional and digital animation,
> > >>> has
> > >>> overwhelmed many of its viewers, and this has pressing philosophical
> > >>> and ethical connotations. In terms of the status of indexicality
> > >>> and truth
> > >>> claims of the visual, in 1998 Elsaesser suggested a crisis was
> > >>> evolving:
> > >>> "Any technology that materially affects this status, and
> > >>> digitisation
> > >>> would seem to be such a technology, thus puts in crisis deeply-held
> > >>> beliefs about representation and visualization, and many of the
> > >>> discourses - critical, scientific or aesthetic - based on, or
> > >>> formulated
> > >>> in the name of the indexical in our culture, need to be re-
> > >>> examined."
> > >>> (Elsaesser, Thomas, "Digital Cinema: Delivery, Event, time", in:
> > >>> Cinema Futures: Cain, Abel or Cable?,1998. Pp. 201-222)
> > >>>
> > >>> While following these debates, I became sensitised to one specific i
> > >>> mpact of manipulated images during a screening of Roland Emmerich's
> > >>> 1994 Independence Day. In the rather naive encounter between the
> > >>> American missionaries and the alien Mother ship we witness a brief
> > >>> moment, only a few frames, when a fireball engulfs the pilot on
> > >>> impact.
> > >>>
> > >>> Now in itself, this is not an unfamiliar scene, and it has been
> > >>> repeated
> > >>> in action and war films to excess. My point here is that the image
> > >>> manipulation was of the 'invisible' sort, i.e. not 'in-your-face'
> > >>> CGI that
> > >>> creates spectacle that is highly aware of its difference to so-
> > >>> called
> > >>> normal perception and representation.
> > >>>
> > >>> The fireball in the cockpit was created to look like live action.
> > >>> So - what's the problem? Well, in that fraction of a second of ID4,
> > >>> an image flashed in my mind that, depending on your generation,
> > >>> may also be indelibly etched in your own.: this 1963 photo by
> > >>> Malcolm Brown
> > >>>
> > >>> http://en.wikipedia.org/wiki/Th%C3%ADch_Qu?ng_D?c>>
> > >>> The mental image of this while watching ID4 was an emotional
> > >>> response
> > >>> on my part, a response of what could be described as 'negative
> > >>> empathy'
> > >>> that incited ethical awareness about the inherent 'wrongness' of
> > >>> this scene.
> > >>>
> > >>>
> > >>> This personal example might illustrate why we need articulated
> > >>> critical
> > >>> reactions to films like these, to facilitate a sober
> > >>> understanding of the
> > >>> impact such films are having on our collective sense of ethics.
> > >>>
> > >>> In light of the inane acceptance of violent images
> > >>> just because we are 'used to them' and the role CGI and animation
> > >>> has to play in this, addressing the crisis rooted in the loss of
> > >>> indexical
> > >>> truth could effectively address a re-examination of the discourse
> > >>> around
> > >>> ethical responsibility in image production. Discussions around
> > >>> animation -
> > >>> especially the kind we are not supposed to see - have tended to
> > >>> focus
> > >>> on technical wizardry and the properties of programmes to create
> > >>> the
> > >>> impossible. It may be part of a new body of work for critical
> > >>> investigations
> > >>> of spectatorial manipulation in a digital age, a territory that
> > >>> needs
> > >>> ethical navigation to understand the philosophical consequences of
> > >>> this kind of imagery.
> > >>>
> > >>> The next issue of the ANM journal (5.1) will have an essay by
> > >>> philosopher
> > >>> and cultural studies scholar Elizabeth Walden that explores just
> > >>> these
> > >>> issues
> > >>> and discusses a puppet animation film; she discusses how
> > >>> "elements of
> > >>> the narrative structure and the camera work give the materials
> > >>> used in the
> > >>> character's project a moral standing in the film, which draws
> > >>> audience and
> > >>> filmmaker as well as the character into an ethical situation
> > >>> which is
> > >>> significant to our shared moment in the digital era."
> > >>>
> > >>> So I'll leave this for now, and see if anyone has some thoughts on
> > >>> it.
> > >>>
> > >>> I'm also happy to engage with the Quays' works, if there is
> > >>> interest out
> > >>> there.
> > >>>
> > >>> Suzanne
> > >>>
> > >>>
> > >>>
> > >>>
> > >>> -----Original Message-----
> > >>> From: empyre-bounces at lists.cofa.unsw.edu.au on behalf of Renate
> > >>> Ferro
> > >>> Sent: Sat 2/13/2010 04:37
> > >>> To: soft_skinned_space
> > >>> Subject: Re: [-empyre-] CG and all things fuzzy
> > >>>
> > >>> Dear Paul and Suzanne,
> > >>>
> > >>> Can you both talk about how CG fits into your animation
> > >>> programs? At
> > >>> Cornell, Computer Graphics and 3D animation is taught by Computing
> > >>> faculty. It is in the art department where students, particularly
> > >>> recently, have been creating stop action, frame by frame, roto-
> > >>> scoping,
> > >>> drawing based and a medley of other fuzzies. Whether working from
> > >>> photography based or original drawing. their novel, quirky rendering
> > >>> styles, interdisciplinary interests and criticality make their
> > >>> work fresh
> > >>> and innovative.
> > >>>
> > >>> How does it work in the UK?
> > >>>
> > >>> Renate
> > >>>
> > >>> Renate Ferro
> > >>> Visiting Assistant Professor
> > >>> Department of Art
> > >>> Cornell University, Tjaden Hall
> > >>> Ithaca, NY 14853
> > >>>
> > >>> Email: <rtf9 at cornell.edu>
> > >>> Website: http://www.renateferro.net <http://www.renateferro.net/>>>
> > >>>
> > >>> Co-moderator of _empyre soft skinned space
> > >>> http://www.subtle.net/empyre>> http://en.wikipedia.org/wiki/Empyre>>
> > >>> Art Editor, diacritics
> > >>> http://muse.jhu.edu/journals/dia/>>
> > >>>
> > >>>
> > >>> _______________________________________________
> > >>> empyre forum
> > >>> empyre at lists.cofa.unsw.edu.au
> > >>> http://www.subtle.net/empyre>>
> > >>>
> > >>
> > >>
> > >> Christopher Sullivan
> > >> Dept. of Film/Video/New Media
> > >> School of the Art Institute of Chicago
> > >> 112 so michigan
> > >> Chicago Ill 60603
> > >> csulli at saic.edu
> > >> 312-345-3802
> > >> _______________________________________________
> > >> empyre forum
> > >> empyre at lists.cofa.unsw.edu.au
> > >> http://www.subtle.net/empyre>
> > >>
> > >>
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> > >> empyre forum
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> > >> http://www.subtle.net/empyre
> > > ===========End of original message text===========
> > >
> > >
> > >
> > > Eric Patrick
> > > Assistant Professor
> > > Radio/Television/Film
> > > School of Communication
> > > Northwestern University
> > > 1920 Campus Drive
> > > Evanston, Illinois 60208
> > >
> > >
> > > _______________________________________________
> > > empyre forum
> > > empyre at lists.cofa.unsw.edu.au
> > > http://www.subtle.net/empyre
> >
> >
> > _______________________________________________
> > empyre forum
> > empyre at lists.cofa.unsw.edu.au
> > http://www.subtle.net/empyre
> >
>
>
> Christopher Sullivan
> Dept. of Film/Video/New Media
> School of the Art Institute of Chicago
> 112 so michigan
> Chicago Ill 60603
> csulli at saic.edu
> 312-345-3802
> _______________________________________________
> empyre forum
> empyre at lists.cofa.unsw.edu.au
> http://www.subtle.net/empyre
>
>
Christopher Sullivan
Dept. of Film/Video/New Media
School of the Art Institute of Chicago
112 so michigan
Chicago Ill 60603
csulli at saic.edu
312-345-3802
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