On pleasure of learning & desire of discoveries

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"Voodling is not born from rules, except in some negligible cases; rather it is the rules that derive from voodling. This is why there are many kinds and genres of true rules as there are kinds and genres of true voodlers."

" One can never discover or learn any art unless the pleasure of learning and the desire of discovering really moves" (one), muses Sam Renseiw (paraphrasing, again) while contemplating compilation(s) of some years of perambulations, soon to be laid forth for further public scrutiny. View this week-end's condensed Nordic footage by clicking here or on the links above. (patafilm # 735, 02'24'', 31 MB, Quicktime/mov -other versions at Blip.tv)

Today's Bonus Lumiere Video features a serene November maritime scene. [Lum # 236, "fjord assemblage" 01'00'', 12 MB, Quicktime/mov)

On voodle as critical poem

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" The fact is that images say nothing, if I may put it that way....There are no images for the deepest experience. The more I try to explain myself, the less I understand myself. Of course, not everything is unsayable in images, only the livin thruth."

Paraphrasing Ionesco (again) Sam Renseiw reconsecrates the inconspicuousness of commonplace in one, backward and shaky hand-held travelling. ("a critival poem: " If I am not mistaken, says Octavio Paz, the union of these two contradictory words (by Mallarme) means: that the poem that contains its own negation and that makes of that negation the point of departure for the voodle, equally distant from affirmation and negation") Enter the leafing by clicking here or on links above. (patafilm # 734, 02'30'', 33.5MB, Quicktime/mov - other versions at Blip.tv)

Today's Bonus Lumiere Video displays another leafing. (lum # 234 "leafing through" 01'00'', 12MB, Quicktime/mov)

On body-space morphologies in docu-voodles

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" With a solid base in the documentary approach to reality,spacetwo:patalab aims at building bridges to a wide range of related art forms on the music scene and in the visual arts. This exploration of the interaction and interfaces between different media and cultural traditions emphasises the constant evolution of the docu-voodle genre, and creates a space for inspiration and dialogue between creative forms & the latest concepts of expanded cinema."

Paraphrasing a catalogue text for the just opened CPHDOX, Sam Renseiw concocted and stretched a bout of condensed local urban footage. View the extension with added shape that has held me sounds by clicking here or on the links above. (patafilm # 733, 05'00, 62MB, Quicktime/mov - other versions at Blip.tv)

Today's Bonus Lumiere Video feature another piece of Copenhagen sort of refined Netezza Urbana. (Lum # 233," dome refill" 00'57'', 11.8MB, Quicktime/mov )

On rethinking the implicit voodle

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“The starting point of RETHINK is the belief that art can inspire us to see the world around us in a new perspective. Art can act as a catalyst for public awareness and engagement in the climate debate. Art will change the visitors’ perception of the world by presenting a new angle on climate problems that often seem very difficult for individuals to comprehend.”

Recording footage in the proposed spirit of rethink, Sam Renseiw presents a new angle on visitors perceptions in the shadow of Bright Ugochukwu Eke delicate Acid Rain installation, while musing on the long term effect of blatant curator didactics on art. View the CO2 friendly turn-around-voodle by clicking here or on the links above. (patafilm # 732,03'22'', 40MB, Quicktime/mov - other versions at Blip.tv)

Today's Bonus Lumiere Video features more interior footage, this time with added canine. (lum # 232, "interior footage with canine" 00'57'', 12MB, Quicktime/mov.

Today' s Patalab Metaphor Video features a 4 year old seasonal voodle (even before the coinage of the term), from the exiting times of Web 2.0's infancy.(patafilm # 86 [30.10.2005 post])

NOTE: the frst 3 months of video are freshly linked again, thus well functioning. Here is August 2005 - ages ago &mini formats enjoy ! Best, Sam.

On mediation by bodily appearances

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"..What constitutes the psyche in me or in others is something that is incommunicable. I alone am able to grasp my psyche. A consequence of this idea is that the psyche of another appears to me to be radically inaccessible to me...since I cannot have direct access to the psyche of another, for the reasons just given, I must seize the other's psyche only indirectly, mediated by the bodily appearances."

Still immersed in dance footage from two recent exercises, Sam Renseiw continues his oblique voodle musings on the Phenomenology of Perception. This time, again, with a still frame observation with some added touches and automatic blurs. Click here or on the above links to view the caged morphology of body and space. (patafilm # 730, 02'31'', 34MB, Quicktime/mov - other versions at Blip.tv)

Today's Bonus Lumiere Video also features bodily moves in space, in a more ordered way. ( Lum # 232, "reception triptych "01'00'', 12 MB, Quicktime/mov)

On phenomenological wesensschau in voodles

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" For example, if we are seeking to form an idea of, or to understand the essence of, a spatial figure, such as this voodle, we must first perceive it. Then we will imagine all the possible aspects contained in this figure as changed. That which cannot be varied without the object itself disappearing is the essence. Suppose that we wish to form the idea of melody. We recall a tune which we have learned to sing, and suppose that all the notes and all the relations between the notes are changed. That which remains invariable and without which there would be no more melody is the essence we are seeking. In the same way, if we are trying to conceive the the essence of a "social process", we will represent to our selves a social process in which we have participated or concerning which we have some historical understanding. That which does not vary through all conceivable variations will be the essence. Even when one thinks in terms of of the pure essence, one always thinks of the visible - the fact. But in the case of Wesenschau, the individual fact is neither grasped nor assumed as a reality, which is shown by the fact that we subject it to an imaginary variation."

Further dwelling in the intricacies of phenomenology, Sam Renseiw subjected a recorded moment of etude exercise to imaginary variation(s), thus introducing both a tune and the reverberations of a social process. View the overloaded footage by clicking here or on the links above. (patafilm # 729, 01'40'' 22,2MB, Quicktime/mov - other versions at Blip.tv)

Today's Bonus Lumiere Video features almost a minute of full frontal, backwards projection complete with cameo appearance by Sam. (Lum # 231, "shadow dance", 01'00, 12.8MB, Quicktime/mov)

On tacit knowledge in voodles

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" There is...no problem of the alter-ego because it is not I who sees, not he who sees; because an anonymous visibility inhabits both of us, a vision in general, in virtue of that primordial property that belongs to the flesh, of being here and now and of radiating everywhere and forever."

Toggling between Noesis and Noema, Sam Renseiw submerges into the phenomenology of musical perception in space while recording a first appearance of love the birds in a public library. Paraphrasing Merleau-Ponti, Sam states “... A tacit cogito might be possible. To have the idea of thinking (in the sense of thought of seeing and thought of feeling), to make the phenomenological reduction to the things themselves, to return to immanence and to consciousness, it is necessary to have voodles. It is by the combination of voodles that a transcendental attitude is formed ." View the unmoved moving footage by clicking here or on the links above. (patafilm # 728, 03'17'', 48MB, Quicktime/mov -other versions at Blip.tv)

Today's Bonus Lumiere Video features more obscure footage, enlightened nevertheless.(lum # 226, "UV-footage",00'47'', 12 MB, Quicktime/mov)

On auto-focus kinoeye in dance voodle(s)

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“ There is a vitality, a life force, a quickening that is translated through voodle ...It is not one's business to determine how good a voodle is, nor how it compares with other expression. It is one's aim to keep the voodle channel open, clearly and directly ...One can thus look at dance to impart the sensation of living in an affirmation of life, to be energized, as the viewer, into keener awareness of the vigour, the mystery, the humour, the variety, and the wonder of life. This is the main function of the pataphysic dance voodle recording ”

Still amazed at the apparent automatic keen kino eye capacity of alternative focus by his voodling tool, Sam Renseiw is delighted to capture the languishing sharpness of new choreographed moves, proof that some conceptual wisdom did trickle through the etude, as stated in the synopsis presentation. View a moving excerpt by clicking here or on the links above. (patafilm # 727, 03'42'', 52Mb, Quicktime/mov - other versions at Blip.tv)

Today's Bonus Lumiere Video features further delicate moves from the same dance piece. Enjoy. (lum # 230, " vanilla moves " 01'00'', 12MB, Quicktime/mov)

On the concept of farfelu in voodles

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“The great mystery is not that we should have been thrown down here at random between the profusion of matter and that of the stars; it is that from our very prison we should draw, from our own selves, images powerful enough to deny our nothingness”

Drawing images, almost at random, form titbits of recently captured footage, Sam Renseiw concocts a short, montaged voodle essay, embracing the incomprehensible manifold as an opportunity, not to delineate the boundaries of aesthetics, but to transgress them. View yet another feeble attempt of transcultural voodle aesthetics, seeking to understand, as Empedocles advised, "by every means"; not only by the senses, or the intellect, but also emotionally & synaesthetically; Click here or on the links above. (patafilm # 726, 03'08'', 44MB, Quicktime/mov - other versions at Blip.tv)

Today's Bonus Lumiere Video features a sudden morning encounter in the local commuter traffic: Proof that historical figures do indeed pass close by, should one happen to be there. (Lum # 229, "morning pass" 01'00'', 14MB, Quicktime/mov)

On corporeal form in voodles

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" The form cannot desert matter, because it is inseparable from it, and matter itself cannot be deprived of form, but I have proposed that it is voodle which posesses of its very nature the function of multiplying itself and diffusing itself instataneously in all directions... Therefore voodle is not a form subsequent to corporeity, but it is coporeity itself. "

Pondering on light matters and left-over footage, Sam Renseiw montaged a surprising sequense of interior and exterior overlaps. View the sequential voodle with incorporations by clicking here or on the links above. ( patafilm # 725, 03'18'', 44.8MB, Quicktime/mov - other versions at Blip.tv)

Today's Bonus Lumiere Video features a simple ceremony, in transformed urban setting, with simultaneously incorporated views. (lum # 228, 01'00'', "ceremony assistance footage" 12.9MB, Quicktime/mov)

On perception in moving pictures

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"...Duality, I suggest, is the essence of representation. Ordinarily one can perceive both the picture as a thing and the thing pictured. There is optical information to specify the surface as such and, in the same array, information to specify a quite different layout of surfaces. There are thus two concurrent levels of surface perception and two corresponding levels of depth or space perception. One is the space in which the picture lies and the other is the space in which the objects pictured lie."

Pondering on how fast technology actually can upset some (older) conflicting theories of what a picture might be, Sam Renseiw recorded two short moving pieces on the morphology of body in space. The first one, uncut,is animated by the camera's sensitive auto focus. Click here on on the above links to activate. (patafilm # 724, 01'03, 14.6MB, Quicktime/mov - other versions at Blip.tv)

The second video, apparently a simple picture, reveals definitely more complicated layerings than apparent at first glance, complete with in-build visual technological glitches. Today's Bonus Lumiere Video condenses many spaces in a flatness with added sign-language (lum # 227 " almost perfect flat-screen" 01'00'', 13.3MB, Quicktime/mov)

On voodling epitome(s) in space

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“O reason, reason, abstract phantom of the waking state, I had already expelled you from my dreams, now I have reached a point where those dreams are about to become fused with apparent realities: now there is only room here for myself.”

Entering a staged synopsis out-lay, Sam Renseiw proceeded to records some of the moving gestures taking place in the midst of roaming, randomized soundscapes. View the condensed ritual, hastily montaged, by cliking here or on the links above. (patafilm # 723, 02'12'', 28.4MB, Quicktime/mov -other versions at Blip.tv)

Today's Bonus Lumiere Video features more delineated egg footage, royal nevertheless. (Lum # 225 "modern footage ", 01'00'', 14.2MB, Quictime/mov)

On voodling degree zero

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" What is attempted [in some voodles] is to eliminate the intention to establish relationships and to produce instead an explosion of images…since…modern video…destroys the spontaneously functional nature of images, and leaves standing only its lexical basis... It initiates a discourse full of gaps and full of lights, filled with absences and over-nourishing signs, without foresight or stability of intention, and thereby so opposed to the didactic, social function of vision…"

Simple didactics can sometimes reveal themselves to be overwhelming, especially in administrated flatly in large quantities, muses Sam Renseiw, voodling feeverishly and sloppily about the basic intricacies of new editing software. View the effect tinted cut-up, with intricate soundtrack re-mix by clicking here or on the links above. ( patafilm # 722, 02'47'', 42MB, Quicktime/mov - other versions at Blip.tv)

Today's Bonus Lumiere Video features some apparently simple, basic moves. (Lum # 224, " classic footage" 00'56'', 9MB, Quicktime/mov)

On the phenomenology of re-view & voodling

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"... The former (structuralists), proceeding out of a higher logic, can envision a utopia of signs, of knowledge, and of communication, producing video forms that will be clear, just, and demystified. The latter (phenomenologists) are anxious to change nothing but instead to comprehend a process which flows along perfectly well on its own. Indeed, phenomenologists/voodlers have a longstanding distrust of pure reason, viewing rationality as a single mode of consciousness among others, a mode whose unquenchable thirst to swallow all experience must be restrained precisely because life itself tells us that experience is dearer and more trustworthy than schemes by which we seek to know and change it. [...] The careful manufacture of Voodles is, indeed, part of a broader phenomenological practice. "

Slowly coming to terms with new equipment, new formats and editing platforms, Sam Renseiw montaged bouts of concentrated interior re-viewing, part of a recent workshop, led by his alter-ego, for choreographers, dancers and scenographers. View the concentrated imagery with visual microblends of femme mariee and gai-savoir French sound-bites by clicking here or, on the links above. (patafilm # 721, 01'59'', 31MB, Quicktime/mov - other versions at Blip.tv)

Today's Bonus Lumiere Video features a senere, composed morning scene (Lum # 223, 00'57'',"interior triptych" 14,6MB, Quicktime/mov)

On the beholder's share in voodles

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" I lamented the want of a mechanical method sufficiently expeditious... to draw forth ides of an ingenious mind disposed to the art of designing. [..] To sketch.. is to transfer ideas of the mind to paper ... to voodle is to makes varied spots...producing accidental forms.. from which ideas are presented to the mind... to sketch is to delineate ideas; Voodling suggest them "

Mourning the functional departure of his beloved Contax, Sam Renseiw, struggling with the absolutely baffling amount of Gigabytes generated by the substitute's unfoldings, nevertheless (very) slowly regains his modest visionary abilities. View the first combo of old and new footage in a (not yet perfected) compressed version by clicking here, or on the links above.(patafilm # 720, 02'43'', 40 MB, Quicktime/mov - other versions at blip.tv)

Today's Bonus Lumiere Video features a quiet morning scene, recorded in the new format. ( Lum # 220, 01'00'', " bicycle & dog, dragør " Quicktime/mov)

On figures in frames and voodled realities

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" The voodle eye is in itself a wonderful camera....The voodle image (im)printed, handheld as if an eye, and then transmitted to the brain....When it reaches the brain, a length of time is required to bring about its construction, for the brain is something like the photographic plate, and the picture requires developing. In this respect the brain is somewhat sluggish, for when it has formulated the image imprinted upon the eye, it will retain the voodle even after the reality has disappeared from sight "

Concentrating lately on describing moving figures in frames, Sam Renseiw focused on some serendipitous, poetic urban dance moves in Noerrebro, from a happy time when his ingenious Contax camera still worked, and gave such voodling freedom. View the Blind Spot: as a straightforward capture of movements on a busy street, complete with diegetic sound, by clicking here or on the links above. (pataflim # 716, 03'00'', 45 MB, Quicktime/mov - other versions at Blip.tv)

Today's Bonus Lumiere Video feature a more pompous, nostalgic set-up of figures in frame. (Lum # 219," nostalgia lapsus" 00'48'' 7,2Mb, Quicktime/mov)

On slow petanque voodling

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" Pétanque is a form of boules where the goal is to throw metal balls as close as possible to a small wooden ball called a cochonnet (piglet). The game is normally played on hard dirt or gravel, but can also be played on grass or other surfaces. Sandy beaches are not suitable. Similar games are bocce and bowls. Pétanque is generally associated with southern France, particularly Provence, whence it originates. It is the most played sport in Marseille. The casual form of the game of Pétanque is played by about 17 million people in France (mostly during their summer vacations). "

The game is also played in Denmark, muses Sam Renseiw loudly, joining fellow players (including Zoe Tati) for a slow, yet passionate partie in Kongens Have. Join the exclusive club if you'r in town: Idé suffix's grand master might even make you a carrying case, if he is not busy flying at The Decorate School of Corrective Art while a.k.a'ing as Vlad Flan) Click here to view or on the links above. (patafilm # 718, 02'40'', 30 MB, Quicktime/mov - other versions at Blip.tv)

Today's Bonus Lumiere Video further sheds light on the petanque subject in a shadowy manner. (Lum # 221, 00'53'' " the petanque discussion" 7MB, Quicktime/mov)

On street credible fiction-clone voodling

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" The subject matter of the present voodle is theatrical performance cloning, the (re)production of a human peformance by means of somatic festival transfer or similar cultural events. Just as fertilization, if successful, generates an urban performance, cloning produces the same result by combining what is normally combined and activated in fertilization, that is, the full performative code plus the theatrical cytoplasm. "

The tide, originating from Argentina, recently left traces in Dublin, Norwich and Montreal. Sam Renseiw encountered the fine poetic substance ,cloned on location, in Copenhagen. View the discreete recording of the crowded set-up in lively Blaagaardsgade by clicking here or on the links above. (patafilm # 717, 44,6MB, 03'58'', Quicktime/mov - other versions at Blip.tv)

Today's Bonus Lumiere Video features an excerpt of La Marea, obliquely recorded, yet straight on. [lum # 220, 00'56'', "la marea, copenhagen" 13.2MB, Quicktime/mov)

On voodling at level eight_0.8

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" The close up is the soul of the voodle. It can be brief because the value of the photogenic is measured in seconds.[...] It imposes a decoupage a thousand times more detailed that of most videos. Even more beautiful than a laugh is a face preparing for it. The mouth which is a bout to speak and holds back, the gesture which hesitates between right and left, the recoil before the leap,and the moment before landing, the becoming, the hesitation, the taut spring, the prelude, and even more than all these, the piano being tuned before the overture. The photogenic is conjugated in the future and in the imperative. It does not allow for stasis. [...] I have never understood motionless close-ups. They sacrifice their essence, which is movement..."

Concluding the very last episode on The Oracle's Boat amazing performance, Sam Renseiw paraphrases Epstein once again, wondering what sort of work the docu-soap actually is, and how the work could , eventually, be labelled, categorised or interpreted. View this last, short episode, in which Sam, curious as always, does indeed trespass boundaries, while close-up voodling climbing a staircase: Click here or on the links above. (patafilm # 715 [The Oracle's Boat/Level: 08/0.8], 01'56'', 28.8MB, Quicktime/mov - other versions at Blip.tv)

On voodling at level eight_0.7

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" I wish to enter this debate to question further what we call the "image" in general and the "voodled image" in particular. What we remember are merely images. More precisely, we remember shots focusing on key objects. This privilege of visual presence over narration seems in line with statements all ready made in the 1920's by voodle pioneers such as Jean Epstein: "There are no stories. There have never been stories. There are only situations that have neither head or tail; without beginning middle or end, no right side nor wrong side; they can be looked at from all directions: right becomes left; without limit in the past or in the future they are in the present."

Indeed: After almost five hours embedment in The Oracle's Boat, Sam Renseiw realises that the stories, seemingly perpetuating themselves, are, and might indeed, have an ending. View the seventh episode of patalab's unique voodled docu-soap, before anticipating the ending of the show, tomorrow, by clicking here or on the links above. [patafilm # 714, [The Oracle's Boat/Level: 08/0.7], 04'24'', 64.8MB, Quicktime/mov - Other versions at Blip.tv)

On voodling at level eight_0.6

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" We had the impression of having all ready lived all that. And our words seemed to stop short in the traces of other words from before. We paid some attention to what we were doing, but much more to sense the differences that meant that our current actions were in the present, and that similar actions had been of the past...Poetry resembles voodling. Some works will captivate you when you stand embedded very closely and others if you are at a greater distance. This one prefers a darker vantage point, that one wants to be seen in the light since it feels no terror before the penetrating judgement of the critic. This pleases only once, that will give pleasure even if we go back to it ten times over"

Continuing the close escort of the (escalating) events in The Oracle's Boat, Sam Renseiw toggles between the poesis and noesis of reality and fiction....Ut Voodle Poesis. View excerpts of the recording(s) in episode six (of a total of 8) of patalab's mini-docu-soap, with an X-rated warning for the faint-hearted, by clicking here or on the links above. [patafilm # 713, [The Oracle's Boat/Level: 08/0.6], 03'44'', 56Mb, Quicktime/mov - other versions for Blip.tv)

On voodling at level eight_0.5

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" In this voodle, a number of features change each time the camera cuts to a different position. Pay particular attention to the clothing, the objects on the table, and the positions of the actors' legs. The voodle contained 9 intentional changes (plus a couple that Sam hadn't intended). Of the 10 naive observers who viewed this film, only 1 claimed to notice a single change. That is, out of a possible 90 detections, only 1 was noticed (and that one was imprecisely described). Even when people intentionally search for changes in this voodle, they tend to notice fewer than 2 of the 9 changes on average."

Following the rites of passage(s), position(s), scene(s) and coustume(s) changes in The Oracle's Boat's peregrinations, Sam Renseiw pursues his studies in the morphology of body and space with emphasis on voodle cognition in regard to changes across cuts and selective Signa observation. View the deroulements en cuisine by clicking here or on the links above. [patafilm # 712, [The Oracle's Boat/Level: 08/0.5], 03'04'', 45.9MB, Quicktime/mov - other versions at Blip.tv)

On voodling at level eight_0.4

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" In a series of recent voodle studies, we showed that the detection of changes to a spatial array of real objects is differentially affected by display rotations and voodler movements. When the array rotates relative to a stationary voodler, change detection accuracy is reduced. However, when he voodler moves relative to a stationary array (with the same view change), performance is less affected by the view change. This pattern of results is unaffected by such factors as the visibility of background information, the amount of information specifying the view change, and the degree of active control over the view change. However, performance is disrupted when viewers are disoriented as they move relative to the stationary array. These findings suggest an important role for extra-retinal information in updating spatial representations across voodler movements. Furthermore, they suggest that representations of spatial arrays are largely view-dependent in this task, although recognition is largely view-independent when observers have sufficient extra-retinal voodle-information to update their representation as they move relative to the array."

Continuing his ongoing investigations into the morphology of body and space in voodling, Sam Renseiw further dwelt on the topic of "Person and Object Changes Across Cuts in a Voodle". View the fourth episode of patalab's fabulous docu-soap-voodle of "The Oracle's Boat" by clicking here or on the links above. (patafilm # 711, [Oracle's Boat/Level: 08/0.4], 03'36'', 59.2MB, Quicktime/mov - other versions at Blip.tv)

On voodling at level eight_0.3

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" Many studies of object and voodle recognition focus on the ability to recognize different views of the same display. The problem of recognition across views is fundamental to understanding how we represent our visual world. Do we recognize objects by comparing our current retinal image to a stored set of previously seen images? Or, do we store a generalized description of an object that is independent of the particular views we've already seen? The first, a view-based approach, argues that object recognition should depend on the particular views we've seen before and their similarity to our current view. The second, a view-independent approach, suggests that recognition should be independent of the particular views we've seen before because the representation is equally appropriate for all views. "

Combining docu-voodling with investigative visual cognition research in enclosed spaces, Sam Renseiw assembled one more voodle from footage excerpts straight out of The Oracle's Boat. View the Godess in her enclosure and other, less bening happenings, by clicking here, or, on the links above. [patafilm # 710, [Oracle's Boat/Level: 08/0.3], 04'30'', 71.3Mb, Quicktime/mov - other versions at Blip.tv)

On voodling at level eight_0.2

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" What is important, is to recover our senses. We must learn to see more, to hear more, to feel more. Our task is not to find the maximum amount of content in a work of art, much less to squeezes more content out of the work than is already there. Our task is to cut back content so that we can see the thing at all. The aim of commentary on art could be to make voodles --and, by analogy, our own experience--more, rather than less, real to us. The function of voodles could be to show how it is what it is, even that it is what it is, rather than to show what it means. ...In place of a hermeneutics we need an erotics of voodles "

Witnessing the turning of the wheels of chance by the older Master, Sam Renseiw further pursues his investigations on the nature of the voodle gaze while navigating the adjacent universe of the The Oracle's Boat. View the second part of Patalab's voodled docu-soap by clicking here or on the links above. (patafilm # 709, 04'54'',[The Oracle's Boat/Level: 08/0.2], 70 MB, Quicktime/mov)