1/2 of the film was shot using a hand cranked 35mm camera, a 1912 Bell and Howell 2709 — B. The other half of the film was shot in HD. The film was hand processed and using the colour matrix and gamma of a hand made emulsion (using my own tinted blood cells for grain — based on a 1930's patent) the film was transferred to high definition video. The work is about representation today — analog / binary — & electricity & hydro power & British Columbia & the beginnings of cinema via Eadweard Muybridge & the energy certificates of the Technocracy party & the absolute value of noise & the year 1957 & regional modernism & the Big Bang & Vermeer's “Milk Maid” & Poincaré recurrence theorem & the great Canadian cowboy singer Wilf Carter & Western Culture & the concept of Grace in Catholic painting & the Tath?gatas of Buddhism & Boris Karloff as Frankenstein reaching for the light. 57 minutes. HD

About Representation Today --analog/binary--&electricity & hydro power & British Columbia & the beginnings of cinema via Eadweard Muybridge & the energy certificates of the Technocracy party & the absolute value of noise & the year 1957 & regional modernism & the Big Bang & Vermeer's ‘Milk Maid' & Poincare recurrence theorem & the great Canadian cowboy singer Wilf Carter & Western Culture & the concept of Grace in Catholic painting & the Tathagatas of Buddhism & Boris Karloff as Frankenstein reaching for the light.

My skin is a part of me. When seen by the outside world, it becomes who I am. But it is not the totality of me. skin is a meditation on the visual interface of my body to the world. It is an effort to present what is present, but also to express what is not. It is a possibility of identity, an expression of the seen and the not seen. The creation of this video work arose from the act of recording of the handling of contact microphones for an audio work. It seemed to me that my effort to incorporate the sound of my hands into an audio piece was not telling the whole story. I needed to acknowledge that my skin, the element that was being recorded, told its own story that was accessible only in the visual realm. I was compelled to activate the sense of sight to tell the story of my efforts to be seen as an artist who wishes to incorporate the overtones of being a visible minority into his artistic practice in unexpected ways. My training in traditional music and percussion systems, my upbringing as a South Asian Canadian with strong roots in India, and my love of technology have resulted in a practice that sees the value of tradition. It is a necessary construct, both in the creative process, and as a potential for creating work that reaches beyond it. My work is not a rejection of tradition (as system/social expression) but an envisioning of it to be more than an end in itself. The social and political realities of our individual and collective culture are too complex to either be “embraced” or “given up”. We need a nuanced and subtle dance with our distinctions, a complex relationship that allows for a reaching beyond of the bounds they supposedly imposed. From the Cineworks (2008) exhibition: Debashis Sinha's skin uses anatomy (which means 'to cut up')......skin is a lush and hypnotically absorbing screen of subtly shifting pixels in the interpretation of colour detailing the surface of a hand. Ambiguous forms unfold accompanied by an electronic, fluttering pulse. The piece marries skin surface with screen surface. By naming the colours on the screen, more dissection takes place.

Nazis in Slovenia, declarations, attitudes.

Sparklene is the first in a series of narrative fragments about haptic visuality and presence in Vancouver. They play with a question of embodied contact with objects and living creatures that can occur outside offixed clichés of vision, touch and speech. The film attempts to subvert the dominance and mastery of the visual in the experience of Vancouver with telepathy, the outmoded, the animal and the magic in sound of mylar in my eyes.

Steve Reinke, Canadian video maker and writer. Literary extensions, autobiographic fragments and monologues. Portraits, confessions and media freak actors, eventually ruins outlining a map of distant worlds next door. The personal sphere and the media usurpation.

Taqwacore: The Birth of Punk Islam follows Michael and his kindred spirits as they travel across the U.S. in their green school bus, challenging Muslims and non-Muslims with punchy anthems like “Sharia Law in the U.S.A.” Their spiritual odyssey leads them to Pakistan, where they bring punk to the streets of Lahore and reconnect with Islam in a bold new way.

Inspired by Italo Calvino's short story by the eponymous title, the video self-reflects on the sensuality of the different mediums: video, b/w film, slide projection, while the different registers of sound (voice over and sound design), are constructed to create an at times cohesive and at times disjunctive narrative. The work also plays on notions of the autobiographical, while feminizing Calvino's text in a contemporary framework. Using documentary images from a personal archive as well as constructed images, this piece, like Calvino's, is a tale of love and technology.