Successfully reported this slideshow.
We use your LinkedIn profile and activity data to personalize ads and to show you more relevant ads. You can change your ad preferences anytime.
Silence, Cacophony, Crosstalk:
New Talking Points
Rick Prelinger
#orphans10, 2016-04-07
@footage
1Thursday, April 7, 16
We collected more
We collected in new ways
Now it is time to say why we collect
2Thursday, April 7, 16
what motivates the archival impulse
to trigger Proustian remembrance
to buttress doctrine and belief
to feel intensity of ...
4Thursday, April 7, 16
I've been speaking publicly about archives for about ten years, and one of my most sobering take-ho...
5Thursday, April 7, 16
Our Librarian emeritus, James Billington, liked to say: "Stories unite people, theories divide them...
6Thursday, April 7, 16
Because I'd like to find deeper ways to think about working with moving images, and this means tryin...
7Thursday, April 7, 16
Though our workplaces may seem quiet and our workflows seem to appear apolitical, archives overflow w...
cinefilia
Zinemazaletasunak
filmofilije
cinefíliacinefilie
cinéphilie
Cinephilie
κινηµατογραφοφιλίας
az igazi mozirajongó
シネフィ...
“When Beth walked with Connie she met on the street a towhee, a
sugar maple, a Darwin tulip. Other beings crowded the spac...
10Thursday, April 7, 16
Could we throw out our preconceptions, or perhaps better our predispositions, about archives and t...
11Thursday, April 7, 16
-- How about a storage and delivery infrastructure for evidence and memory that is as reliable as ...
12Thursday, April 7, 16
-- Or a data corpus that surrounds us like air, manifesting itself through our sensorium and the t...
13Thursday, April 7, 16
-- A locus (or loci) of preservation of information and ideas capable of collecting both the canon...
14Thursday, April 7, 16
-- An anticipatory network that sniffs out, appraises and collects records of potential interest
Fortune, 1944-01
15Thursday, April 7, 16
-- A fully permeable repository that supports a spectrum of access from casual in...
16Thursday, April 7, 16
-- An agnostic system that dissolves formalistic distinctions between physical and digital materia...
17Thursday, April 7, 16
-- A suite of preservation functions that simultaneously support centralized and decentralized sto...
All-woman crew, WBKB-TV (Chicago), World War II and thereafter
18Thursday, April 7, 16
-- A repository that embodies the p...
19Thursday, April 7, 16
-- A curatorial algorithm that doesn't automatically reject garble and glitch
20Thursday, April 7, 16
-- A utility that familiarizes us with its holdings through convenience and defamiliarizes them th...
21Thursday, April 7, 16
-- and an entity that's learned how to cross anachronistic species boundaries. This last is maybe ...
THE ACCELERANDO:
“THE GREATEST EFFLORESCENCE
OF CIVILIZATION IN HISTORY,
A NEW RENAISSANCE.”
—Kim Stanley Robinson, Blue M...
"And yet still, with all the blossoming of
human effort and confidence of the accelerando,
there was a sense of tension in ...
Poughkeepsie, NewYork
24Thursday, April 7, 16
No one can say what will happen next. But I think it may not be quite what w...
Prelinger Library, San Francisco, April 3, 2016
25Thursday, April 7, 16
To start, neither nostalgia for the physical nor c...
Chronik der Anna Magdalena Bach (Straub-Huillet, 1968)
26Thursday, April 7, 16
In fact, the turn to digital revalidates th...
San Francisco Chronicle, 1915-09-14
27Thursday, April 7, 16
But while digitality may revalidate analog, it's rapidly deval...
28Thursday, April 7, 16
This is funny, because some emerging histories of images and sound (like media archaeology) privil...
29Thursday, April 7, 16
The crisis ecosystem of evidence-bearing physical objects has become really fascinating. The displ...
30Thursday, April 7, 16
This is what historians call presentism. We are presentist when we apply current modes of thinking...
31Thursday, April 7, 16
Despite its apparent victory over physical media, digitality is fragile. It requires a compliant s...
East St. Louis, Illinois, 2009-11-04
32Thursday, April 7, 16
The air of romantic obsolescence that surrounds a lot of hist...
A.M. Low, Wireless Possibilities, 1923
33Thursday, April 7, 16
Dead media, failed kludges, speculative engineering venture...
34Thursday, April 7, 16
The archival axioms of permanence and provenance don't remap well into the digital domain, where e...
Seaside,
Oregon
2015-01-02
35Thursday, April 7, 16
Why do we love glitch so much? It's becoming a real 21st-century fetish...
36Thursday, April 7, 16
In fact, glitches aren't only challenges to preservation — preservation itself is a glitch. The no...
10/8/15 10:55 AMThe Consortium for Slower Internet
Page 1 of 3http://slowerinternet.com/principles.html
THE CONSORTIUM FOR...
From Elmer Dyer Film Library looseleaf catalog books, Hollywood, spring 1970
Angry film librarian venting
38Thursday, April...
U.S. President's Materials Policy Commission, Resources for Freedom,
v. 1, 1951; excerpt from preface, probably written by...
Abandoned "Druid Heights" commune, Marin County, California
40Thursday, April 7, 16
And we'll need to interrupt archival t...
W1UX, Killingworth, Conn.
41Thursday, April 7, 16
And I want to end by mentioning a forbidden topic that's lately been int...
Red-Tailed Hawk nesting, Great Highway & Taraval St., San Francisco, June 2015
42Thursday, April 7, 16
We need to think of...
Eugene, Oregon, 2015-07-03@footage / rick@ucsc.edu
43Thursday, April 7, 16
Thank you.
Upcoming SlideShare
Loading in …5
×

Silence, Cacophony, Crosstalk: New Talking Points

1,133 views

Published on

Talk presented on day 1 of Orphan Film Symposium 10, April 7, 2016, Packard Campus for Audiovisual Conservation, Library of Congress, Culpeper, Virginia

Published in: Science
  • Be the first to comment

  • Be the first to like this

Silence, Cacophony, Crosstalk: New Talking Points

  1. 1. Silence, Cacophony, Crosstalk: New Talking Points Rick Prelinger #orphans10, 2016-04-07 @footage 1Thursday, April 7, 16
  2. 2. We collected more We collected in new ways Now it is time to say why we collect 2Thursday, April 7, 16
  3. 3. what motivates the archival impulse to trigger Proustian remembrance to buttress doctrine and belief to feel intensity of expression to collect yarn for historians to substantiate reparation to scenarize the future to arrest deterioration to legitimize a culture to trap us in the past to sustain resistance to touch documents to eternalize power to love a platform to restore justice to fill in outlines to allay trauma to inflict pain to enclose to hoard to share what motivates the archival impulse to trigger Proustian remembrance to buttress doctrine and belief to feel intensity of expression to collect yarn for historians to substantiate reparation to scenarize the future to arrest deterioration to legitimize a culture to trap us in the past to sustain resistance to touch documents to eternalize power to love a platform to restore justice to fill in outlines to allay trauma to inflict pain to enclose to hoard to share 3Thursday, April 7, 16 [45 seconds]
  4. 4. 4Thursday, April 7, 16 I've been speaking publicly about archives for about ten years, and one of my most sobering take-homes has been that most people, especially our users, don't think very imaginatively about us. They think of archives as somewhat glorified warehouses or as service organizations, rather than as incubation points for culture, works of art, histories and social change. The silence separating those who think about archives and those who work in them is striking and unproductive. And we see this lack of crosstalk manifested in language, in status and in workflow.
  5. 5. 5Thursday, April 7, 16 Our Librarian emeritus, James Billington, liked to say: "Stories unite people, theories divide them." It's funny -- I always wanted it to be the other way.
  6. 6. 6Thursday, April 7, 16 Because I'd like to find deeper ways to think about working with moving images, and this means trying to pull archival theory out of academia and bring it into the places where archivists work. Could we catch up with our colleagues in textual archives and the digital humanities, and find ways to think harder about the purposes and goals of our work?
  7. 7. 7Thursday, April 7, 16 Though our workplaces may seem quiet and our workflows seem to appear apolitical, archives overflow with contention. To collect is to commit to the survival of certain records over others; to arrange and describe is often to enclose; to preserve is to resist power, violence and constraint; to enable access is to invite misunderstanding and aggression. And yet "archives" yearn for praxis; even menial archival labor is practice in search of theory. The alternative to thinking all of this through is not to think, and that leaves us with pretty much only one rationale for moving image archival work that remains the same even as the world changes around us.
  8. 8. cinefilia Zinemazaletasunak filmofilije cinefíliacinefilie cinéphilie Cinephilie κινηµατογραφοφιλίας az igazi mozirajongó シネフィル 시네필синефилия цинепхилиа cinephilia Sinefili синефіли ַ‫א‬‫סינעפילי‬ translate.google.com 8Thursday, April 7, 16 That rationale is cinephilia. Yes, we're all cinephiles in our own ways. [I love home movies, so I am not here to bury cinephilia.] But cinephilia isn't enough. We need to articulate reasons for our practice, not simply accept it on an unspoken level We need to look outward beyond our walls, and understand that even if we work in a private institution or deep within a government department, we are effectively working for everyone and for those of us not yet born Films are powerful, but they lack the power to preserve themselves. And the reasons to preserve them are not always apparent.
  9. 9. “When Beth walked with Connie she met on the street a towhee, a sugar maple, a Darwin tulip. Other beings crowded the spaces between human habitations. When she was with Miriam, the space between things was filled in with human cries and colors of relationships; the needs, the hungers, the plots and plans of people they knew swarmed around them. With Laura, streets were political manifestations: on this block the scars of urban renewal showed, on that a particular corrupt combine owned apartment houses and gouged rents, here was the site of a busing controversy.” — Marge Piercy, Small Changes (1972) 9Thursday, April 7, 16 I like to think of moving images and sound as privileged evidence, but observed closely, moving images and sounds often appear as suggestive, enigmatic anecdotes, rarely adaptable to single interpretations. I sometimes worry that the institutionalization of archives has limited the imagination with which we approach their holdings. Consciously or not, we gravitate towards imagining uses that we approve of, or uses that fit into familiar frameworks. And use restrictions are likely the greatest factor that limits our (and our users') ability to imagine new uses. (Lockdowns also contribute to deterioration.) There are not many films like we saw last night being made.
  10. 10. 10Thursday, April 7, 16 Could we throw out our preconceptions, or perhaps better our predispositions, about archives and try on some new definitions? In fact, forget definitions. Let's try dreams. Here's a cacophony of archival utopias:
  11. 11. 11Thursday, April 7, 16 -- How about a storage and delivery infrastructure for evidence and memory that is as reliable as city water or gravity-propelled Roman sewage systems and scalable and flexible enough to remember or forget as needed?
  12. 12. 12Thursday, April 7, 16 -- Or a data corpus that surrounds us like air, manifesting itself through our sensorium and the tools with which we augment our bodies; or alternatively a mycelial network that feeds on data to propagate and spread
  13. 13. 13Thursday, April 7, 16 -- A locus (or loci) of preservation of information and ideas capable of collecting both the canonical and the quotidian, hegemonic and oppositional, personal and institutional
  14. 14. 14Thursday, April 7, 16 -- An anticipatory network that sniffs out, appraises and collects records of potential interest
  15. 15. Fortune, 1944-01 15Thursday, April 7, 16 -- A fully permeable repository that supports a spectrum of access from casual inquiry to deep touching
  16. 16. 16Thursday, April 7, 16 -- An agnostic system that dissolves formalistic distinctions between physical and digital materials
  17. 17. 17Thursday, April 7, 16 -- A suite of preservation functions that simultaneously support centralized and decentralized storage schemes
  18. 18. All-woman crew, WBKB-TV (Chicago), World War II and thereafter 18Thursday, April 7, 16 -- A repository that embodies the power of the record while simultaneously disavowing it, that is to say it tries both to assert and reject privilege.
  19. 19. 19Thursday, April 7, 16 -- A curatorial algorithm that doesn't automatically reject garble and glitch
  20. 20. 20Thursday, April 7, 16 -- A utility that familiarizes us with its holdings through convenience and defamiliarizes them through inconvenience
  21. 21. 21Thursday, April 7, 16 -- and an entity that's learned how to cross anachronistic species boundaries. This last is maybe further off than the others, but I've heard all of these ideas one place or another.
  22. 22. THE ACCELERANDO: “THE GREATEST EFFLORESCENCE OF CIVILIZATION IN HISTORY, A NEW RENAISSANCE.” —Kim Stanley Robinson, Blue Mars (1996) 22Thursday, April 7, 16 This is how the utopian-minded speculative fiction writer Kim Stanley Robinson defines what he calls the Accelerando (AH-CHE-LE-RANDO) It’s a speeding-up of development in all realms: exploration, invention, science and philosophy. But it also comes with insecurity.
  23. 23. "And yet still, with all the blossoming of human effort and confidence of the accelerando, there was a sense of tension in the air, of danger.... A stressed renaissance, then, living fast, on the edge, a manic golden age: the Accelerando. And no one could say what would happen next." 23Thursday, April 7, 16 "And yet still, with all the blossoming of human effort and confidence of the accelerando, there was a sense of tension in the air, of danger....A stressed renaissance, then, living fast, on the edge, a manic golden age: the Accelerando. And no one could say what would happen next." He's talking about the 2200s, but this is also a good description of the present.
  24. 24. Poughkeepsie, NewYork 24Thursday, April 7, 16 No one can say what will happen next. But I think it may not be quite what we're being led to expect. A few thoughts.
  25. 25. Prelinger Library, San Francisco, April 3, 2016 25Thursday, April 7, 16 To start, neither nostalgia for the physical nor celebration of digital conquest make much sense. To transcode a formulation from artist and writer Jen Bervin, it's becoming clear that physical and digital materials each have different jobs to do. And I think those of us who haven't tried to put analog and digital into opposition are on the right track, unless you're talking about obvious attributes like weight, physical bulk, and dependence upon electron flow, or unless you need conflict for yet another pedestrian news story. Every day in our library I realize that analog-digital hybridity is not a transitional state, and I hope it remains a permanent one.
  26. 26. Chronik der Anna Magdalena Bach (Straub-Huillet, 1968) 26Thursday, April 7, 16 In fact, the turn to digital revalidates the analog. I make digital films that play before audiences who talk while the film runs. I thought this was radical, until I realized I was actually channeling the Elizabethan theater whose front pit was filled with loud and boisterous groundlings. The affordances of digital media — its properties that make certain actions possible — are giving us a new understanding about how physical media forms actually work. Ebooks have taught us much about physical books, and weavers take inspiration from screens. As Alex Horvath pointed out, the renaissance of Baroque-era musical instruments is a relatively recent phenomenon.
  27. 27. San Francisco Chronicle, 1915-09-14 27Thursday, April 7, 16 But while digitality may revalidate analog, it's rapidly devaluing it. Physical objects are being disposed of and destroyed at an accelerated rate. Hey librarians and archivists: do physical objects still have the right to exist? For some media, like newspapers, journals and videotape, this has already been settled in the negative. Shelves are emptier and stacks gone in many libraries.
  28. 28. 28Thursday, April 7, 16 This is funny, because some emerging histories of images and sound (like media archaeology) privilege apparatus and container over content. The story of countless dead or comatose media platforms exists less in the surviving images and sounds than in or on the containers, labels, reels, caddies, leaders, labels and postmarks. The history of the educational film distribution system is as much recorded on the cans and shipping containers that protected the reels as in the catalogs and trade journals. (Recanning isn't always a good idea!) Akin to pioneer electronic publishing executive Bill Dunn's assertion that the importance of metadata exceeds the value of data it describes.
  29. 29. 29Thursday, April 7, 16 The crisis ecosystem of evidence-bearing physical objects has become really fascinating. The displacement and expulsion of physical materials in favor of digital surrogates is akin to urban gentrification, and as archivists, scholars and citizens we will one day have to answer for it. Because the attributes that distinguish the physical are exactly what we should be preserving, and they are a pain. Physical objects, no matter how many we discard, are incredibly persistent. And their persistence is inconvenient. They're the table scraps, the leftovers of digitization, and there aren't enough dogs around the table to gobble them down. We are basing entire new phenomenological, philosophical and scholarly agendas on one recent technological turn, and for some reason we find ourselves staging a battle against physical materials in order to make room for apparent digital abundance.
  30. 30. 30Thursday, April 7, 16 This is what historians call presentism. We are presentist when we apply current modes of thinking to the past and future. Right now it is tempting to eternalize the present and imagine a future based on disturbing trends that have not been with us for very long. It is short-term thinking to regard the apparent end of film and the collapse of the photochemical manufacturing chain as the definitive threat to film culture. It is presentism to regard digitality as the negation of film culture, or, for that matter, to think of digitality as the negation of analog culture. Deeply-held feelings of cinephilia drive us to read current history in apocalyptic terms, and deep cultural anxieties heighten our most appropriate concerns about digital longevity.
  31. 31. 31Thursday, April 7, 16 Despite its apparent victory over physical media, digitality is fragile. It requires a compliant social order, the accommodation of governments, and the steady availability of energy. It is not a monolith; the Chinese digital world works differently than the North American. And its corporate structures and business models are experimental. We shouldn't overreact today to a force that will behave differently tomorrow.
  32. 32. East St. Louis, Illinois, 2009-11-04 32Thursday, April 7, 16 The air of romantic obsolescence that surrounds a lot of historical media and communications technology today is quite striking and entertaining, and we might actually enlist it to help build a bridge between media archaeologists, their complex assertions, and the public, but we need to push it hard to really learn something. It's fun to touch and revive obsolete or failed tech, but what exactly does it tell us? While the landscapes of our many deindustrialized cities are rich texts crossed by threads of evidence that implicate many players, most visitors see only ruin porn.
  33. 33. A.M. Low, Wireless Possibilities, 1923 33Thursday, April 7, 16 Dead media, failed kludges, speculative engineering ventures that pass neither usability nor smell tests and express poorly integrated relationships between information and its embodiments are all deeply fascinating, but we need to squeeze those "neglected margins" hard. And yet anything we can do to question the unreasonable faith much of the world seems to have in the robustness and persistence of the digital is most welcome. As long, perhaps, as we are not fetishizing digital fragility, or mourning losses not yet incurred.
  34. 34. 34Thursday, April 7, 16 The archival axioms of permanence and provenance don't remap well into the digital domain, where everything is as fragile as the next spike, brownout or coronal mass ejection. In the aggregate, archivists have thought a great deal about the implications and contradictions of digital archives, but like many who think as futurists, they have yet to reflect on how these peculiar databases will function socially.
  35. 35. Seaside, Oregon 2015-01-02 35Thursday, April 7, 16 Why do we love glitch so much? It's becoming a real 21st-century fetish. But it's nothing new. It's proudly and joyously traditional: people have stepped on snapshots, cried over letters whose ink smeared, wondered what's on the pages missing from library books, felt the thrill of film burning and blossoming in the gate. Where I come from, the fast-growing city of San Francisco, glitch is perhaps the most-used mode of appropriation.
  36. 36. 36Thursday, April 7, 16 In fact, glitches aren't only challenges to preservation — preservation itself is a glitch. The normative lifecycle of digital media is ephemeral. As Howard Besser stated in 2001, the default condition of electronic objects is to disappear. It's a bit like filmmaking, where it takes an aggressive producer to make movies — to push back against resistance, to deploy and coordinate money, properties, people — because the default condition of movies is not to be made unless they are forced to be made. Each completed film is a flaunting of the odds. Preservation is the realest of glitches, especially in our age of massive media abundance. The archivists’ job is to hack media so that it can be preserved against its will.
  37. 37. 10/8/15 10:55 AMThe Consortium for Slower Internet Page 1 of 3http://slowerinternet.com/principles.html THE CONSORTIUM FOR SLOWER INTERNET Slower Internet is about more than speed. The Consortium for Slower Internet pursues projects that promote the following principles. DURATIONDURATION There is no inherent concern with information that is transmitted and distributed with great speed, but Slower Internet suggests that information be consumed at a more contemplative pace. If information is to be a central part of our lives, Slower Internet is interested in finding ways to live with it on more human time scales; news, facts, updates, etc should be absorbed slowly and given time for consideration. Systems that PRINCIPLESPRINCIPLES FORFOR SLOWERSLOWER INTERNETINTERNET 10/8/15 10:55 AMThe Consortium for Slower Internet Page 2 of 3http://slowerinternet.com/principles.html updates, etc should be absorbed slowly and given time for consideration. Systems that emphasize duration are central to a Slower Internet. DEFAMILIARIZATIONDEFAMILIARIZATION The information delivered by Fast Internet is the white bread of data: predictable, lifeless, sanitized for mass appeal. Slow Internet delivers content in unexpected formats and spaces. The practice of defamiliarization encourages users to scrutinize their role and participation in a given system. Seamless experiences are suspect. AUTONOMYAUTONOMY Fast Internet dazzles with maximum features at minimum price, but it often does so at the expense of user autonomy. Increasingly, users are encouraged to sacrifice their rights to own material they produce with a given system when services are rendered free of charge. Slower Internet respects user autonomy by giving creators control and ownership over their data. Charging reasonable fees for a service is always preferable to spying on customers and appropriating their data to serve advertisements. DIVERGENCEDIVERGENCE Computers have long been universal machines, able to perform any calculation regardless of content. A Slower Internet, however, requires that dissimilar tasks occur in a diversity of spaces on a multitude of devices. Living with information does not mean that we have to give any type of machine a monopoly over our attention. Slower Internet is a process of cultivating a garden of machines that fit localized, individual desires. The Consortium for Slower Internet Made in Minneapolis, MN http://slowerinternet.com/principles.html 37Thursday, April 7, 16 From time to time I've felt part of a digital vanguard: making CD-ROMs with the Voyager Company in the early and mid-1990s. Putting archival films online. Scanning books from our little library. Feeling one step ahead of those on the other side of what was then a digital Grand Canyon. But that's changed. Digitality and privilege have been inverted. Getting the personal attention of a bureaucrat, collecting and touching artisanal objects, writing with a nice pen, these are privileged encounters. The rest of the world wrestles with touchtone menus, disrespectful algorithms and poorly designed websites. But if you have privilege, there are no stray bits in your slow food. And slow media is coming back. Some friends are building an intentional community in Mendocino County, on the northern California coast. They're installing fiber on their farm, but it moves bits slowly, and their Internet service is only up between 8 am to 5 pm. Voluntary inconvenience.
  38. 38. From Elmer Dyer Film Library looseleaf catalog books, Hollywood, spring 1970 Angry film librarian venting 38Thursday, April 7, 16 Inconvenience may be our best friend. Archival enclosure is a systemic problem and a bad inconvenience. But there are also formative inconveniences, which I like to think of as good affordances. Wrangling with inconvenience is like choosing to write by hand instead of typing or dictating. You learn more about the words you are processing. And you learn about film by touching its physical constituents. Inconvenience enables defamiliarization, which is what makes all art possible.
  39. 39. U.S. President's Materials Policy Commission, Resources for Freedom, v. 1, 1951; excerpt from preface, probably written by Eric Hodgins 39Thursday, April 7, 16 And if we can learn from the current state of archives, it will be prompted by inconvenience. As in the histories of media, the lessons arise out of breaks in continuity, imperfect narratives and interruptions in order.
  40. 40. Abandoned "Druid Heights" commune, Marin County, California 40Thursday, April 7, 16 And we'll need to interrupt archival theory itself, whose pretensions to permanence read quixotically in an age of mass extinction. There are communities of archivists and thinkers generating a wealth of new thinking about what archives are and what they could be — notably feminist-focused archivists, queer theorists, activists, people who work around traditional knowledge and traditional cultural expression. I was privileged to join a meeting at the Re-Build foundation in Chicago three weeks back, during which the question of whether there was a "Black style of archiving" was discussed. We need to be talking about these issues in the moving image and sound space, especially because I have come to suspect that the history of the formative years of the AV archives movement is very much LGBT history, and if I'm not mistaken this history mostly remains to be written.
  41. 41. W1UX, Killingworth, Conn. 41Thursday, April 7, 16 And I want to end by mentioning a forbidden topic that's lately been interesting me. Hoarding violates everything we think of as "archival." We generally think of hoarding as pathology, but I feel that it is often an attempt at re-rooting, at halting the supersonic trajectory of modern cultures, at building a coherent nest in a windy world. Scott Herring, in his really courageous and beautifully written new book The Hoarders, tries to depathologize hoarding in a number of ways, and it is well worth reading. Is there something about the needs hoarding may fill that tells us about the needs we might fill as archivists?
  42. 42. Red-Tailed Hawk nesting, Great Highway & Taraval St., San Francisco, June 2015 42Thursday, April 7, 16 We need to think of archives as players in an environment that is all about transmission and reception. And the archival projects of the moment — thinking beyond superficial differences between platforms and superseding a heritage of enclosure with a culture of hospitable transaction — resonate with important concerns in broader cultures. So we are like scientists working in laboratories devoted to hacking on major projects. And we should therefore look up from our rewinds and our screens and take responsibility for the future.
  43. 43. Eugene, Oregon, 2015-07-03@footage / rick@ucsc.edu 43Thursday, April 7, 16 Thank you.

×