New Releases from Canyon Cinema

From: DOMINIC ANGERAME (email suppressed)
Date: Wed Sep 10 2008 - 19:17:17 PDT

Below are some new releases from Canyon Cinema.....please visit our new release section on our website

Dominic Angerame
Director, Canyon Cinema

* Jon Behrens

* Louise Bourque

* Alexis Bravos

* Nathaniel Dorsky

* Jan Doyle

* Kate McCabe

* Tomonari Nishikawa

* Ben Russell

* Mark Toscano

Works now available on DVD by..

* Gary Adlestein

* Takahiko iimura

* Elizabeth Sher

* Walter Ungerer

Jon Behrens

The Astrum Argentium

THE ASTRUM ARGENTIUM Is the third film in a series that is being called
the Anomalies cycle. It is mostly a hand painted and step printed film.
This time I used stained glass dyes and also experimented with
photographing growing crystals with time laps cinematography. I also
created the sound design for this film. (JB)

2006, 16mm, color/sound, 6 min $45
The Production and Decay of Strange Particles

In this film I began to experiment more with creating mats with liquid
latex directly on the film emulsion then bleaching of all the excess
image around the latex and using the clear bleached sections of film as
a canvas to paint my film poem I used special inks that were custom made
just for me called Keneville Dyes I then to re-photograph it all on my
beloved JK optical printer. I also created this films sound design.

2008, 16mm, color/sound, 7.5 min $45

Louise Bourque

L'eclat du mal (The Bleeding Heart of It)

2005, 35mm, 1.85 wide screen, stereo sound Dolby SR, 8 minutes, $100

Alexis Bravos

Alexis Bravos (b. 1975, Chicago) is a filmmaker at large. Her films have
been shown at festivals and galleries internationally. Working primarily
with 16mm film, her work investigates the nature of truth in the areas
of biography and autobiography. She is currently a Visiting Professor in
the Cinema and Media Studies Department at the University of Hartford.
Poma Granata

Poma granata means "many seeded apple" or pomegranate. I made this piece
as a remembrance of four generations of women in my family. It's loosely
constructed around disturbing rites of passage, first experiences of
freedom as a young person, and the loss of home. It's an attempt at
regaining memory through finding the perfect food (in this case an apple
or a pomegranate). My younger sister stands in for me, embarking on a
journey through the city of Chicago, chasing a white rabbit of sorts.
She is given a magical hatbox and becomes connected to a woman from the
past who eventually leads her to the fruit, which will nourish her.

2005-07, 16mm, 9min, color/b&w/sound $35

The Argonaut

A biography about the nineteenth century writer and explorer Eliza
Farnham. Through voiceover, inter-titles, black space and a subjective
camera, a single event in her life is examined.

2008, 16mm, 10min, sound $35

Nathaniel Dorsky


Available for rental mid-October

Dark and stately is the warm, graceful tenderness of the Sarabande. (N.D.)

2008, 16mm, color/silent, 18 fps, 15 minutes $85 Rental


Available for rental mid-October

San Francisco's winter is a season unto itself. Fleeting, rain-soaked,
verdant, a brief period of shadows and renewal. (N.D.)

2008, 16mm, color/silent, 18 fps, 21.5 minutes $85 rental

Jan Doyle

e motion al stud ees

"On the one hand, emotion is the alchemical fire whose warmth brings
everything into existence and whose heat burns all superfluities to
ashes. But on the other hand, emotion is the moment when steel meets
flint and a spark is struck forth, for emotion is the chief source of
consciousness. There is no change from darkness to light or from inertia
to movement without emotion."
(C. G. Jung CW 9i, par. 179)

Working with archetypal anima images from my dreams and within my
psyche, I was attempting to project my anima figure as soul, and reveal
it’s influences on my emotions, a kind of valuable messenger between my
unconscious and my conscious, a connecting link… a veritable Hermes… an
animated dance of feminine and masculine.

This film uses early animation techniques, pixilation, time lapse,
multi-passes, mattes and plates from Eadweard Muybridge’s Human
Locomotion Motion Studies then re-photographs the film with an optical
printer to breathe life and transform inertia to movement.

1982, 16mm, b&w/so, 5m $35

Kate McCabe


Sound Design: George Lockwood
Music: Brant Bjork
Photography & Direction: Kate McCabe

Sabbia is a desert trip inspired by the music of Brant Bjork and
visualized by Kate McCabe. Evoking the immeasurable desert landscape and
old ghosts of a dusty past, the film beautifully weaves together a
tapestry of perfect moments and a raw rock-n-roll way of life. As a form
of psychedelic documentary, the film explores the musical wilderness of
a weird and sexy Southern California wasteland. Sabbia presents the
landscape’s vast sense of space and time and like a mirage, reveals the
magic of desert music, art, and soul.

The vastness of the deserts, their sweep and scope and giant emptiness
waiting to be filled with raw sound, has always been a prominent theme
in Bjork’s music, and it finds suitable expression in McCabe’s airy,
untethered visualizations of those parts of California where “wasted”
describes the landscape instead of the people. Conjuring in bits and
pieces everything from Van Sant’s Gerry to Wilfred Thesiger’s Arabian
Sands, Bjork & McCabe’s Sabbia crowds the empty desert with sights and
sounds that seem not so much natural as inevitable. – Leonard Pierce

2006, 16mm on video, 79 mins., color, stereo sound
DVD Sale: $20

Tomonari Nishikawa


This film was shot by a still camera with 16 lenses, which takes a
series of 16 pictures within 1.5 seconds, fitting onto 2 normal frame areas.

The film shows the sense of the event at Tokyo Racecourse, when it was
holding the biggest race of the year, Japanese Derby (Tokyo Yushun). The
excitement of each race lasts 2 minutes and 30 seconds.

2008, 35mm, color, silent, 2 min. 30 sec. $35

Ben Russell


“One of the strangest films I have ever seen; its characters come and go
as if they’re ‘primitives’ posing for the camera, either obeying or
fighting an ethnographer’s controlling eye.” - Fred Camper, Chicago Reader

Culled from four rolls of Super-8 film shot while the maker was a
development worker in a small South American village, Daumë is at its
center a film about ritual, power, and play. Daumë is both ethnography
and critique; it is an interrogation into how to represent a place that
can’t be represented.

2000, 16mm, 7min, b&w/color/sound, $30

the quarry

On the sides of the quarry, hundreds of giant statues lay strewn about
in various states of disrepair. We sat there, at the base of the thing,
for hours - our jaws open wide.

the quarry is a silent document of five minutes in the presence of the
sublime. This small, quiet 16mm film serves as a testament both to
cinema’s failure to reproduce the lived moment and to its success in
replacing that moment with one that is equally wondrous.

2002, 16mm, 4min, color/silent, $25

Terra Incognita

A pinhole film, a cheap robot voice, a makeshift history. An explorer’s
tale of the unknown part of the world.

Terra Incognita is a lensless film whose cloudy pinhole images create a
memory of history. Ancient and modern explorer texts of Easter Island
are garbled together by a computer narrator, resulting in a forever
repeating narrative of discovery, colonialism, loss and departure.

2002, 16mm, 10min, color/silent, $35

Black and White Trypps Number One

"A night sky fills with light shimmers and flecks, surface markings,
heavenly bodies. It’s an ocean, a well, a screen, a mirror, a portal.
Blackness/void cluttered by growing ephemera. Dark reaches of outer and
inner space gradually sifts through shards of granite and diamonds. The
mind races as the material becomes greater and more frenetic, reaching a
nearly audibly grinding pitch of excitement, flurry, and instantaneous
infinity that ebbs at first and then maintains. Flashes of color emerge
or are imagined. Chaotic flickering of dancing peasant girls and
violently twisting astronaut helmets. Layers of sea slime over
undulating life forms. Bonfires and celebration. Explosions,
construction. Holocausts. Primordial ooze, modern civilization. Ages and
seconds. Floating heads circle kaleidoscopic bursts of shiny beads.
Everything everywhere twists, forces through, transforms into, overlaps
everything else. Seashells, snow, jewels, static, planets, mitochondria,
trash, leaves. Rings, flowers, stars, hair, ghosts, comets, cartoons,
demons. Icebubblesinstrumentscats marblestwigsfireflie
#Overkill. Birth/ Death. Moment by moment, symmetrical—organized like
geometry, like Muslim rugs, like math."
- JT Rogstad, The International Exposition (TIE)

A psychedelic op-art film that references the traditions of hand-painted
Avant-Garde cinema by replacing it with something entirely different.
Hypnosis is imminent.

2005, 16mm, 6min. 30sec., b&w/silent, $30

Black and White Trypps Number Two

"A fine fine example of spaces between existing as objects themselves. A
patternistic and memorializing offering to natural totems. Two kinds of
reversal at play involving black and white as well as reflection and
overlap. These simple elements create a hurried maze of twisting antler
branches, twigs, and dissected slices of pure “space.” I can hear the
crackling fires, echoing elk calls and frosty despair…" - JT Rogstad,
The International Exposition (TIE)

2006, 16mm, 8min., b&w/silent, $30

Black and White Trypps Number Three

"...a filmic portrait of secular rapture that harks back to the great
annunciation canvases of Titian and Caravaggio." – Michael Sicinski,
Green Cine Daily

The third part in a series of films dealing with naturally-derived
psychedelia. Shot during a performance by Rhode Island noise band
Lightning Bolt, this film documents the transformation of a rock
audience’s collective freak-out into a trance ritual of the highest
spiritual order.

2007, 35mm, 12min., color/sound, $40

Black and White Trypps Number Four

"Jesus Christ, look at the white people, rushing back. White people
don’t care, Jack..." - Richard Pryor

"Divisible stand up comedy from beyond the grave, adjust your set,
rabbits ears tuned to the Bardo Plane." – Mark McElhatten, Rotterdam
International Film Festival

Using a 35mm strip of motion picture slug featuring the recently
deceased American comedian Richard Pryor, this extended Rorschach
assault on the eyes moves out of a flickering chaos created by
incompatible film gauges into a punchline involving historically
incompatible racial stereotypes.

2008, 16mm, 10min. 30sec., b&w/sound, $35

Trypps #5 (Dubai)


A short treatise on the semiotics of capital, happiness, and
phenomenology under the flickering neon of global capitalism.

2008, 16mm, 3min., color/silent, $25

Workers Leaving the Factory (Dubai)

103 years later, a(nother) remake of the Lumiere Brothers
pseudo-actuality film La Sortie des usines Lumière. This time around our
factory is a job site, a construction site peopled by thousands of
Southeast Asian laborers, a neo-Fordist architectural production site
that manufactures skyscrapers like so many cars.

2008, 16mm, 8min., color/silent, $30

Mark Toscano

Mark Toscano is originally from Connecticut. He eventually settled in
California, where he didn't study film. He is a film preservationist for
a living. By dealing largely with experimental work in his job, he is
both endlessly inspired and periodically demoralized in his own
filmmaking. This process began in 2000 when Mark worked for three years
as the assistant director of Canyon Cinema.

An experiment in re-ordering one kind of information turned into
something having to do with the power the material has over the maker
once I tried to get another kind of information to conform to that same
order. A set of transparent corrections forced the movie to behave, but
the reckless spontaneity of the footage and the acceptance of my failure
laid bare nevertheless make obvious the foolishness of the endeavor to
begin with.

A home movie of my cousin's wedding.

2008, 16mm, color/sound, 1.5m, $25


Works now available on DVD

Gary Adlestein

Domestic: Selected Films & Videos 1981-2001

These experimental films and videos were shot in the house, out the
window, in the yard, down the road, etc, in the rural Oley Valley (near
Reading, Pa.) where I live. They span a little more than two decades and
range from super-8 to 16mm blow-ups, to silent and
in-camera-edited-sync-sound super-8's (some of them re-photographed), to
more recent videos that are foten layered and image-processed. All of
them are hopefully lyrics of high visual intensity that celebrate the
expressive potential of the medium they were created in and the simple
grace of taking pleasure in seeing and hearing the world (the loss of
the which is increasingly threatened in the sad times [2005] we are
living through).

Compilation includes the following works:
Shadow Hunting (1981, S-8mm, 2 min. sil.) - exploiting the painterly
'smear' quality of undercranked 6 fps projected S-8: Shadow hunts, I follow.

Pie Plates (1980, S-8 to 16mm, 5:44 min) - a John Cage inspired (his
work for prepared piano accompanies the visuals) backyard yin/yang,
optically printed meditation. ("a lingering impression of harmony using
a minimal amount of footage" - Linda Gross, LA Times

Fontana (1988, S-8mm, 4:09 min.) - in the shower: after the grotesque
fountains I saw in Rome.

S-8 Diary: Wildwood (1988, S-8mm, 2:23 min.) - a Sunday drive down the
Jersey shore and back which we often did when Linda's parents (from
Wildwood) were alive.

Cinesongs for Storm De Hirsch (1990, S-8mm, 10:55 min.) - homage to one
of the pioneers of experimental S-8, Storm De Hirsch; seasonal images
arising and fading simultaneously (shown in MoMA's "Big as Life: An
American History of 8mm Films" program).

Oley (1993, Hi-8 video, 10 min. sil. & sound) - harvest time in Oley Valley.

Witchway (1995, Hi-8 video, 7:12 min. sil. & sound) - under the feedback
spell of an Oley spirity and her familiar. ("...deftly uses themes from
Penna. folklore to create a powerfully haunting and chilling descent
into an autumnal netherworld." - Albert Kilchesty.)

Outside In (1995, Hi-8 video, 8:50 min.) - an interior/exterior domestic

Lotus Song 2 (2000, mini-DV, 6:47 min.) - the second part of the
life-cycle of a Lotus and its surround; a song of natural artifice.

Imaginary pond with real frogs (2001, mini-DV, 8:44 min.) - after
Marianna Moore's definition of poetry as "the art of creating imaginary
gardens with real toads."

Sonata (2001, mini-DV, 3:27 min., sil.) - visual music to "soothe the
scythe" (Ed Sanders); a reaction to 9/11.

DVD Sale, $75 Home use; $100 Institutional use.
Italia: Experimental Films and Videos 1980-2005

A selection of short experimental films and videos shot in Italy
spanning a period from 1980 through 2005. Some are intuitive,
edited-in-camera, reactions to what I was experiencing: others are
frame-by-frame (JK optical printing) reconfigurations of the image or,
in the videos, layered and image-processed compositions. All are lyric
celebrations of a place, art and culture that I love. (G.A.)

Compilation includes the following works:
Saint Teresa (1983, 16mm, 4:50 min.) - after Bernini's "Ecstasy";
baroque excess and dazzle; shot in super-8 at SM della Vittoria, Rome;
re-composed in 16mm on the JK.

Embarkation to Capri (1980, super-8mm, 2:04 min.) - a single shot lyric;
the pleasure seekers depart (after Watteau and Fellini). "A particular
favorite of mine." - Tom Chomont

Verona (1989 super-8mm, 3:11 min.) - one of a series of
edited-in-camera, sync-sound, place lyrics that I was shooting in the
late '80s.

Taormina/Etna (1996, super-8mm to Hi-8 video, 6:53 min.) - a land and
seascape of exquisite beauty pulsing with life and the promise of death.

Sicilia (1999, mini-DV, 4:20 min.) - meditation on life and death in the
Catacombs of Palermo and, on the island of Motya, in the presence of a
5th century BC Greek Statue unearthed in the 1970s. (DIrector's
Citation, Black Maria Film & Video Festival).

Nocturne (2003, mini-DV, 4:20 min.) - video diary: midnight under a full
Venetian moon.

Graffito (2003, mini-DV, 2:55 min.) - tracing a swirling arabesque at
the heart of Venetian art and design. (Athens Int'l Film Festival; Three
Rivers Film & Video Festival)

Apollo Dreaming (2004, mini-DV, 3:30 min.) - through the oculus of teh
Pantheon, Apollo dreams the future of Rome. (DIrector's Citation, 24th
Black Maria Film & Video Festival)

San Marco Subaqueo (2005, mini-DV, 4:45 min.) - the bejeweled Adriatic
Queen succumbs to the coppery depths of the sea.

Bava Bytes (2005, mini-DV, 10:40 min.) - fractured Mario Bava trailer
pics mixed in a delirious giallo tribute to maestro Bava, Christopher
Lee and Eva Bartok.

DVD Sale, $75 Home use; $100 Institutional use.

Takahiko iimura

Performance /Myself (Or Video Identity)

With Takahiko iimura and Akiko iimura.

Collection of video performance, 1972-1995, 7 pieces, total 29min. This
DVD is produced with "myself" as the sole object as well as the material
of the performance except two videos with Akiko iimura. The video is not
just a document of the performance but a work of video-art made
specifically for video utilizing the video system including camera and
monitor as a part of the performance. The video also questions the
identity of oneself in video having tense relationships between words
and images, and asks who is "I" and what "I" means. The videos assembled

* Self Identity (1972, 1 min. extract)
* Double Identity (1979, 1.5 min. extract)
* Double Portrait ( 1973-1987, 5 min.)
* I Love You (1973-1987, 4.5 min.)
* This Is A Camera Which Shoots This (1982-1995, 5 min.)
* As I See You You See Me (1990-1995, 7 min.)
* I Am A Viewer, You Are A Viewer (1981, 4 min.)

In the first, "Self Identity" , I said in front of the camera, "I am
Takahiko iimura," and "I am not Takahiko iimura," alternately. Does it
sound like a ZEN-MONDO, a question and answer session of Zen monks? Yes,
and no. The key of the piece is the former announced the voice
synchronized with the picture and the latter without synchronization,
the voice only. Next "Double Identity" is set in a similar context with
a monitor, and the same person outside the monitor both in frontal view.
They both claim "I am T.I.", then yield to each other, at the end both
denying the identity themselves. It is subtitled "On turning the Double
Negative to the Positive." It suggests only the viewer get the positive,
not the person in the picture who is not able to hear what the other
said. "Double Portrait" and "I Love You" are a paired piece with Akiko
iimura. Both iimuras play individually as well as a unit. In "Double
Portrait" they are never together, but one by one in three points of
view, front, side, and back, assigned to the words "I", "You" and
"He"/"She" respectively. They identify their own name positively and
negatively one after the other. The pronouns rotate with every
repetition, for instance, in front view with "You," then "He / She" and
back to "I". Often the words are destroyed acoustically making them
unintelligible. Are you confused? If you'd take a look, you'll see what
I mean. "I Love You" is not a style of confession, but the words, and is
a linguistic practice using a sentence " I love you" shifting the
pronouns, (as it was called "Shifter" by linguist Roman Jacobson) both
the subject and the object, according to who speaks to whom in the
picture. The reverberating effect in the sound multiplies the words
crossing over the words between them and dubbing the voice over male to
female or vice versa. Two other companion pieces are "This Is A Camera
Which Shoots This" and "As I See You You See Me". Both are set up facing
two cameras and monitors and the performer walks between them while
voicing the sentence. Here the words "This" and "You" have the same form
in the nominative and the objective cases, switching the case, not only
the signifier (word) but also the signified (object).In the last, "I Am
A Viewer, You Are A Viewer", made in film, the performer plays the
double role of the performer and the audience simultenously, talking to
his own shadow. At the end the performer suggests the audience move into
the light to see themselves in shadow. (T.I.)

1972-1995, DVD Sale; $70 Home use, $300 Institutional use

For Filmic Meditation

* In the River, 1969-70, 16mm, color, 12 min.

"Iimura used the process of re-photography, but in this instance, the
screen was the tiny viewer of a 16mm editor. Using various camera speeds
and in-camera superimpositions, Iimura analyzed some footage he had made
in Katmandu of a man taking a bath in a sacred river. The finished film
develops an interesting parallel between the man's careful bathing as
the river flows past and Iimura's careful analysis of the man's
physically simpler activities as the film flows through the camera.The
spiritual illumination the man receives is reflected by the mandala-like
circular illumination created by the flickering light of the 16mm
viewer. A meditational experience is, thus, presented in a film whose
minimal action and quiet pace can create meditational possibilities for
viewers." -Scott MacDonald

* Shutter, 1971, 16mm, b&w, 30 min, Music by Keijiro Satoh

"Using two projector speeds and various camera speeds, he photographed
the light thrown onto a screen by a projector with no film running
through it. Because of the disparities between the speeds of the camera
and projector shutters, the resulting footage, which he printed first in
positive, then in negative, creates a series of flicker effects which
are even more powerful." -Scott MacDonald

I hope you could re-experience through these two films in which I found
that a perception in film comes through silent meditation from the
experience of the memory of a man in sacred river in katmandu and the
hallucination of flickering lights. (T.I.)

1969-2007, DVD sale: $60 Home use; $300 Institutional use.

On Time in Film/DVD

Time is, as it has been said by John Cage on music, the most important
issue on film. (T.I.)

"In concentrating on this set of problems, often wrongly seen as
'minimalist,' Iimura went much, much further than any other film artist
in exploring a kind of art-science. This concern with the experience of
time, its measured passage and the analogy between time and space, has
been the main recurring theme at the centre of his work." - Malcolm Le
Grice (author of "Abstract Film and Beyond," MIT Press)

* 24 Frames Per Second, 1975-78, 16mm, b/w, 11min.
* Times 1, 2, 3 (from Models, Reel 1), 1972, 16mm, b/w, 10min.
* One Frame Duration, 1977, 16mm, b/w & color, 11min.

1975-2007, DVD sale: $60 Home use, $300 Institutional use.

Elizabeth Sher

What's Inside these Shorts?: The Short Films of Elizabeth Sher

Including: Juggling, Beat It, The Training, Wash It, and much more.

DVD Sale: $40 Home use, $150 Institutional use.

I.V. Magazine, Volume #1

I.V. MAGAZINE is the perfect comeback to the white-bread blandness of
network TV magazines. This wide-ranging pastiche of interviews, humor,
satire and music opens with Sally Webster (of the Mutants) fumbling for
a video fix. Next an interview with a policewoman is punctuated by her
target practice on the firing range; a peep behind the scenes at
"Fantasy Phone Call Service" and fashion mutilation set to John Gullak's
industrial score in "Razor Ribbon." View the world through the lurid
eyes of a shoe fetishist; chill to post-nuke delights; submit if you
dare to Flipper's "Brainwash" music - and more.

"I.V. MAGAZINE keeps you off balance ... a very welcome sign in times
when the rewards go to those who play it safe." - St. Louis Post-Dispatch

1984, DVD, color/so, 60m, $45

I.V. Magazine, Volume #3

TAKE IT STRAIGHT. This full-scale invasion into the computer age is
semi-conducted by that heart-of-gold, brain-of-silicon, megahostess -
MacDonna. View kiddie beauty pageants; tips for handypersons and upscale
house hunters; the whimsy of computerized martial arts; an octogenarian
who swears that "work makes young." The satire bites in an English
"industrial music video" set to the tune of tearing velcro and FIND IT,
a computer-animated frenzy in a dumpster with internationally acclaimed
mime, Arina Isaacson, and the dog-gonest genie ever - and even more.

"This edition of I.V. MAGAZINE should blaze the trail for the
penetration of art into the great American psyche." - Jonathan Formula

1986, DVD, color/so, 60m, $45

Walter Ungerer

Ungerer: A Four Volume Collection

VOLUME ONE includes:
A LION'S TALE (1968)
I ANNA, I THREE (1989)

This is a collection of early experimental shorts shot on 16mm film
except I, ANNA, I THREE, which was shot on 3/4 inch Umatic SP, and EIN
documentary about the auto drag racing team of George Snizek and Charlie
Dodge from Oceanside, Long Island, New York.

VOLUME TWO includes:
BIRDS 2/93 (1993)
RELATIVES IN X, Y & Z (1996)

This is a collection of more recent experimental shorts all shot on VHS,
Mini-DV or created in the computer; where they were edited and
manipulated with various computer software programs.

VOLUME THREE includes:
UNTITLED 2.1.2 (2002)
91 LE GRAND (2005)

These are four films using vastly different styles. Untitled 2.1.2 uses
abstract, hardly recognizable shapes and colors to create a person's
emotions as they experience tension and chaos. THE AWAKENING is shot in
a straightforward almost documentary style to convey a person's
spiritual birth. LESLEY'S SONG mixes direct recording with fractured,
contorted computer altered imagery. 91 Le Grand is a time-lapse
recording from dawn to evening over several months of a winter, as seen
from the interior of Ungerer's home.

VOLUME FOUR includes:

These are two films shot with an inexpensive digital still camera
capable of shooting shot video bursts. The inobtrusiveness of the camera
afforded Ungerer the opportunity to record unguarded moments in people's
lives, while he was on a trip to England, Germany, and Switzerland in
2006. The result was RANDOM BITS OF UNKNOWN SIGNIFICANCE. Using the same
camera, A WEEK IN NORTHERN GERMANY was shot in November of the following
year while Ungerer was touring northern Germany doing film presentations.

1965-2007, DVD Sale $20 Home use, Institutional use, please inquire.

For info on FrameWorks, contact Pip Chodorov at <email suppressed>.