Brecht Andersch co-founded the Austin Film Society in 1985-87, during which time he discovered the works of Belson, Maclaine, and others of the Beat world. In 1991, he appeared as the “Dostoyevsky Wannabe” in Richard Linklater’s SLACKER. Andersch worked as a film projectionist at SFMOMA from 2000-2020. He served as a columnist on film for SFMOMA’s blog, Open Space, from 2010 until 2021, during which he published the 17-part IN SEARCH OF CHRISTOPHER MACLAINE, largely consisting of “The THE END Tour,” documenting many of the film’s locations and entirely uncredited cast, and containing the first book-length explication of the film’s many fragmented mysteries. Andersch’s debut feature film, BRUNO UNDERGROUND, photographed in 16mm B&W largely by Paul Clipson, is in final stages of post-production. He currently works as relief projectionist at the Stanford Theatre.

Raymond Foye is a writer, editor, curator, and archivist. He is a former Director of Exhibitions and Publications at Gagosian Gallery and is a Consulting Editor at The Brooklyn Rail. He is the literary executor of the estates of Gregory Corso, Rene Ricard, James Schuyler, and John Wieners. He is based in New York City.

Isabella Scaffidi is an emerging archivist who recently graduated from the University of Southern California with a BA in Cinema and Media Studies and Comparative Literature. She currently works at the American Cinematheque in Los Angeles, CA, where she is producing the organization's first print publication from the archive. She got her start in archiving while in undergrad at USC at the HMH Foundation Moving Image Archive, where she first fell in love with film preservation and remains a dedicated apprentice. Over the last three years, she has worked closely with HMH archivist Dino Everett, restoring various projectors and films under his guidance, auditing classes in the UCLA MLIS program, and assisting the archive in routine maintenance-related tasks, such as building shelves, conducting research, scanning films, accessioning and de-accessioning prints/collections, and cataloging. On weekends, Isabella also interns for restorationist Ross Lipman, where she is helping build the catalogue of the Jordan Belson Film Archive.

One of the most compelling writers and public speakers on the subjects of media, esotericism, and visionary experiences, Erik Davis brings an appropriate sensibility to Jordan Belson’s remarkable films. Davis' 1998 debut work TechGnosis: Myth, Magic, and Mysticism in the Age of Information, a groundbreaking study of the persistence of enchantment in the digital age, proved a defining work on twenty-first century consciousness. His essay "The Paisley Gate: The Tantra of Psychedelics" was included in Zig Zag Zen: Buddhism and Psychedelics—a favorite book of Belson's. Davis approaches Belson’s films not just as art but as inner space probes, intimate artifacts of expanded consciousness that help us creatively know our own minds. Davis holds a PhD in religious studies from Rice University. His other books include High Weirdness: Drugs, Esoterica, and Visionary Experience in the Seventies, Nomad Codes, and Blotter: The Untold Story of an Acid Medium. He currently covers California culture on his Burning Shore newsletter, and also co-founded the Berkeley Alembic, a center for meditation, arts, and consciousness culture.

Ross Lipman is a freelance archivist, filmmaker and essayist. Formerly Senior Film Restorationist at the UCLA Film & Television Archive, his many restorations include works by Barbara Loden, Charles Burnett, John Cassavetes, Orson Welles, Shirley Clarke, Kenneth Anger, Julie Dash, Rob Epstein, Bruce Conner, Lourdes Portillo, Eleanor Antin, Mack Sennett, Dziga Vertov and Robert Altman. His 2015/16 documentary Notfilm, on Samuel Beckett’s FILM starring Buster Keaton, was named one of the 10 best films of the year by Artforum, Slate, and many others. Lipman is a three-time winner of the National Society of Film Critics' Heritage Award, and recipient of Anthology Film Archives' Preservation award.

Doug McKechnie (b. 1941) is one of the last people alive who attended the VORTEX concerts (1957-59) and he later revived a version of VORTEX in 1973 with Belson’s permission and consultation. A pioneer of the Moog synthesizer, he performed on the Grateful Dead album Aoxomoxoa (1969) and appeared live with the band. Also in 1969 McKechnie used the Moog synthesizer for a performance of Terry Riley’s In C at the San Francisco Opera House. Other performances included The Family Dog concert hall, the opening of Frank Oppenheimer's Exploratorium, and the first ever concert at the Berkeley Art Museum. McKechnie will lecture, screen films, and perform live soundtracks.

L u m i a is an independent archivist and filmmaker and an advisor to the estate of Jordan Belson. They have assisted in organizing and cataloging Belson’s papers and working materials in his studio.

Founded in 1961, San Francisco Cinematheque cultivates the international field of non-commercial artist-made cinema through curated exhibitions, through the creation of publications and by maintaining a publicly accessible research archive. Cinematheque’s work inspires aesthetic dialog between artists, stimulates critical discourse, and encourages appreciation of artist-made cinema across the broader cultural landscape. With a grounding in non-commercial, non-narrative and non-documentary filmmaking traditions, Cinematheque’s programs broaden the public’s understanding of non-mainstream artistic filmmaking practice while expanding and challenging established art- and film historical traditions.