FOR IT TO BE FOUND IT NEED NOT HAVE BEEN LOST IN THE FIRST PLACE; thoughts and notes on the material form.

For it to be found essay

For it to be found

an essay on Canadian filmmaker, Frank Cole.   Life Without The Films of Frank Cole

an essay on the short film, Speechless, in SNAP, an online magazine based in Milwaukee.

contribution to Vertov Z to A, a book by P Ahwesh & K Sanborn

A publication of diverse responses by artists and writers to individual film frames presented them from Dziga Vertov’s 1926 film, Man With A Movie Camera. All put together by filmmakers and scholars Peggy Ahwesh and Keith Sanborn. 


Peggy Ahwesh and Keith Sanborn, Eds.

Publisher: Ediciones la Calavera
PubDate: 3/1/2008
ISBN: 9780964228436
Price: $20.00
Dziga Vertov’s ‘Man With a Movie Camera’ is widely regarded as the definitive modernist statement in film. What fate awaits it–and you, devoted reader–in the current era of political disarray and highspeed wireless traffic? This collection–over four years in the making–devoted to just a single frame of film may reveal the answer.
This is the Special Jubilee Edition of VERTOV FROM Z TO A in honor of the 90th Anniversary of the October Revolution.
Contributors include Abu Ali, Bruce Andrews, Yann Beauvais, Ericka Beckman, Walter Benjamin, Diane Bertolo, Francois Bucher, Edwin Carels, Abigal Child, Ludovic Cortade, Brian Frye, Joy Garnett, Marina Grzinic, Michelle Handelman, Peter Hitchcock, Robert Kelly, Marina de Bellagente LaPalma, David Larcher, Barbara Lattanzi, Les LeVeque, David Levi Strauss, Jeanne Liotta, Laura U. Marks, Julie Murray, Kristin Prevallet, Cathy Nan Quinlan, Melissa Ragona, John David Rhodes, Jason Simon, John Smith, Michael Smith, Allan Sondheim, Caspar Stracke, Beatrijs van Agt, Mercedes Vincente, William C. Wees, Peter Lamborn Wilson, Ghen Zando-Dennis and Thomas Zummer.


“The Early Years” tab on the website links to various accounts of CAMP’s initial enterprise. Scroll down for notes on making Escalator.

 Escalator mural on Clarion alley, San Francisco, is included in this recent publication. Made in 1993, the mural was rendered in compressed charcoal on gessoed surface and then sealed with coats of matt varnish. By 2014, having lasted 17 years, it finally succumbed and was obliterated. A  description I wrote of the process of making the mural was included in the book.