the white dog is a single channel video work created based on Sinha's audiovisual performances using field recordings and video material collected by the artist on trips to Kolkata, India, home of his extended family. Structured in 4 parts, the white dog is a deeply personal open narrative/documentary work---a meditation on sound, image, and identity, distilled through the in/between-ness of Sinha's experience as a south Asian Canadian artist interested in how tradition can influence and inspire contemporary expression. Created specifically for the juried exhibition at the International Symposium on Electronic Art 2009, the white dog is a fixed expression of the artist's improvisational shruti performances, which use these materials in a performance context. The soundtrack was culled from various performances of shruti in Berlin, Toronto, and the Banff New Media Institute, and was reused as the soundtrack to this work. From statement by the artist: Through these multiple displacements, the place of India is brought here, to the place of the screening, mediated through my own perceptions, wrought into something approximating my own experience, a displaced person, simultaneously at home and away, everywhere.

A young aboriginal mother spends time with her daughter teaching her different aspects of the environment to the sound of layered, traditional Mohawk songs. An unforseen event ruins the bonding moment in this simple message of respect for the environment and ourselves.

Using a Super8 camera, Henricks employed time-lapse photography to document the interior and exterior of his apartment. Inspired by the work of Virginia Woolf, this video uses writing as a metaphor to speak on notions of temporality and impermanence.

A butterfly in the rain. The pattern of a butterfly's wings are found in a hole in a plastic bag that covers my camera, and they are transposed into a myriad. Shot on Papineau Boulevard in Montreal, Canada

A war has been raging in Iraq for the last five years. American soldiers are increasingly exhausted by a conflict that drags on without an end in sight. For the first time in its history, the American Army is not making its recruitment quotas. Yet there is an almost inexhaustible supply of new recruits among young immigrants, both legal and illegal. Five soldiers of Latin American origin were among the first casualties of the Iraqi war. Three did not have American citizenship. José Antonio Gutierrez and Jesus Suarez del Solar were among them. José Antonio was one of the first U.S. Army soldiers to die in Bagdad. He was from Guatemala. Just a few days after the conflict began, Jesus Suarez stepped on an American mine hidden in the sands of the Iraqi desert. He was from Mexico. His father Fernando Suarez has been fighting ever since. He wants to halt the aggressive tactics of U.S. Army recruiters who target Hispanic kids in American high schools. And he wants the war to come to an end.

An intimate dialogue with Soha Bechara, ex-Lebanese National Resistance fighter, in her Paris dorm room. The interview was taped during the last year of the Israeli occupation, one year after her release from captivity in El-Khiam torture and interrogation center (South Lebanon) where she had been detained for 10 years—six in isolation. Revising notions of resistance, survival, and will, the overexposed image of the survivor speaks quietly and directly to the camera—not speaking of the torture, but of separation amd loss; of what is left behind and what remains.