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The value of "interpretation" is that through it, one might expose reality, or explain oneself. -Ai WeiWei


from Who I M Seies, 2010 - 2014, Affective Memory Screen Capture by Immersionist Chase Alias includes Instant Message Conversations.


Unique Digital Work #chasealias #endogenous #theorizeart #screencapture #NewMedia #Immersionist






Fri, Feb 29: 3 PM

Sat, Mar 1: 11 AM

Sun, Mar 2: 1 PM

Mon, Mar 3: 11 AM

Tues, Mar 4: 6 PM

Weds, Mar 5: ---

Thurs, Mar 6: 3 PM

Fri, Mar 7: 1 PM

Sat, Mar 8: 6 PM

Sun, Mar 9: 3 PM


Join the SL Shakespeare Company group inworld on SL! ;-)


or drop by the SL Globe Theatre

The actor creates with his own flesh and blood all those things which all the arts try in some way to describe.

-Lee Strasberg


from Who I M Seies, 2010 - 2014,

Affective Memory Screen Capture by Immersionist Chase Alias includes Instant Message Conversations.


Unique Digital Work #chasealias #endogenous #theorizeart #screencapture #NewMedia #Immersionist #affectivememory #huntersthompson #art

Sea glass at the Presidio

Michael Naimark

See Banff, 1993-94

zoetrope, cabinet, mixed media


See Banff! is an interactive installation based on an Edison kinetoscope, an early form of moving images. On top of the cabinet is a stereoscopic hood for viewing short sequences filmed by Michael Naimark with Gilles Tassé around Banff and rural Alberta in 1993. A hand crank on the side of the cabinet allows the viewer to “roll” the short films forwards or backwards. Next to the viewer is a lever to select one of 14 silent views.


The Edison kinetoscope was introduced to the public in April 1894, and “movies” such as "The Wrestling Dog," "The Boxing Cats," and one about a sneeze were immediate successes. Less than two years later, however, on December 28, 1895, Louis and Auguste Lumiére projected films onto a screen for a paying audience of 33 people. The new medium of the kinetoscope had been replaced by the next new medium of the projected film, although arguably both constitute types of cinema.


Technically the See Banff! films were recorded with two stop-frame 16mm film cameras mounted on a "super jogger" baby carriage. Stereoscopic recording was either triggered by an intervalometer (for timelapse) or by an encoder on one of the carriage wheels (for dollys and moviemaps). Naimark and Tassé made over 100 sequences with this rig. Aesthetically, Naimark relates,


“On the one hand, the sites in the Banff area are monumental in their grace and beauty. Some are sacred. On the other hand, watching the tourists at these sites told a different story. Busses and busses pulled in and out of parking lots seemingly in the middle of nowhere. Tourists would get out - cameras in hand - for twenty minutes, then back on the busses off to another site. Gilles and I agreed that the strength of the footage would lie in counterpointing these two conflicting messages.”


See Banff! was first developed during the Art and Virtual Environments programme here at the Banff Centre, a programme central to the founding of the Banff New Media Institute a year later. Of the 9 projects by 15 artists, in the medium of virtual reality, creating during that residency, only See Banff! has been selected for this exhibition due to its central connection with the place and its clear representation of repurposed formerly new media.


Naimark is a media artist and researcher with over 25 years of experience investigating "place representation." He has worked extensively with field cinematography, interactive systems, and immersive projection. He was instrumental in the founding of several world-renown research labs.


For its presentation here, the artist undertook a substantial upgrade of the programme powering See Banff!, replacing an old Apple IIci computer and large analog laserdisc player with a small compact Mac mini computer with integrated digital video card.


Collection of the Museum of the Moving Image, Astoria, NY


cloud, sunset, wing

View On Black


This entire set could not have been conceived, or realized, without the extraordinary creativity of Joonhee Park's New Media exhibition, "Forest," at Wheaton College, January 2010. From within the environment he created, all this series is made, finding micro-selections within the ever-flowing, light-show imagery, within his 3-D installation.


The original pictorial material is video footage shot by Joonhee Park, here projected from multiple video projectors simultaneously onto a complex grid of transparent, white cheesecloth.


The projectors are all simultaneously running - each a different, continuous, moving loop of footage. Thus everything moves in front of the eyes in variant directions, with some visual overlapping in places, and on all sides at once.


The overall installation can be seen @

That might be Sweden

When shall we three meet again? Near the coffee shop, when the tour's said and done.

These are photos of the installation (Spi)ritual OMnipotence that is being developed for the 2008 pixxelpoint festival.


“I have a theory that the truth is never told during the nine-to-five hours.”

― Hunter S. Thompson


from Who I M Seies, 2010 - 2014,

Affective Memory Screen Capture by Immersionist Chase Alias includes Instant Message Conversations.


Unique Digital Work #chasealias #endogenous #theorizeart #screencapture #NewMedia #Immersionist #affectivememory #huntersthompson #art

Still from video art project

What am I sketching? You may never know but at least you know I'm happy to do it. Taking advantage of the clearing weather, I decided to go outside to do some sketches of the wet scenery while getting my jeans wet.

Myron Campbell brought along his good luck charm "Suzie" on the night he was named Interactive Designer of the Year at the 2010 Canadian New Media Awards! .


Read Myron's guest post on the VFS blog about his win!


Learn more about VFS's one-year Digital Design program at

This is the study room where the InFoto Group set up many of their tutorials.

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