On key discoveries in dance voodles

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"I like to produce moving images that seems out of range, to enlarge the range and add things to what we think of as video-blogging…. From the beginning — like the other discoveries, such as separating music and movement — Voodling has constantly brought up other possibilities. There is always some other way to do it…. Voodling is another way found to deal with the question of what movement can be. Voodling has opened it up to me. It has broadened what I think of as possible in dance-voodles."

Paraphrasing (again) and grossly cross-changing terminologies, Sam Renseiw enables some pataphysical observations through Cunningham's "Four Key Discoveries", while condensing some recent footage into clear-cut dance-voodles. View the new footage - two videos on one post- (yet clearly from late-last-year) by clicking here and here or on the links above. (patafilm # 842,03'09'', 65MB, Quicktime/mov; patafilm # 843, 03'29'', 67MB, Quicktime/mov - Other versions at bliptv)

Today's Bonus Lumiere Video is a shaking still, making faces. (bonus Lumiere video # 333, 01'00'', 17MB, Quicktime/mov)

on stand-stills

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“Yet, even now, ever time (often) that I find that I don't understand something, then instinctively, I'm filled with the hope that perhaps this will be my moment again, perhaps once again I shall understand nothing, I shall grasp that other knowledge, found and lost in an instant.”

The best wishes for a happy, properous and fruitfull new year to all friends and dedicated viewers. Kind regards: Sam Renseiw.

On little bags of remembrance in voodles

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"…our brain contains something akin both to a photographic plate and a phonographic cylinder, and many other things of the same kind not yet discovered; not a sight or a sound or a smell is lost; not a taste or feeling or an emotion. Unconscious memory records them all, without our even heeding what goes on around us beyond the things that attract our immediate interest or attention. […]...the Voodle should not have to do with an exploit or record, it would be neither a peak to scale nor an ocean floor to reach ... [it] would not be heroic, or spectacular; it would be something simple and discreet."

Trapped by an overflowed harddisk and simultaneous chores, Sam Renseiw nevertheless managed to voodle around in his spare time, montage-ing bits of footage anyway. View a long overdue piece of fragmented memory from short visit to a somehow far-flung place by clicking here or on the links above (patafilm # 840, 02'45'', 49Mb, Quicktime/mov - other versions at Blip.tv)

Today's Bonus Lumiere Video features a more distinct set-up of unintended narration in an abstract context. (lum # 330 "cold toasted bread" 01'00'', 17MB, Quicktime/mov)

On the emergence of presence

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"The assembled material is extra-ordinary, on many levels. Not necessarily in size, but certainly in depth. […] On first glance, one might be struck by a seemingly anachronistic stance inherent in the material. In conception and obviously manufacture, a certain delightful time lag is ubiquitously present. It is the firm constancy of theses markers that acts as benevolent alonge, freshly propelling the work(s) into new, and more timely territories of classification. […] There is, obviously, one pivotal condition at stake. Acting as a magnanimous, crucial amalgam ingredient, the carefully crafted Artworks, ooze with refined discharges, to maintain a chartered, unflinching course. Encompassing a longing for “erotics of art instead of hermeneutics”, the overlapping works by POF and ERF establish broader territories of sensuous presence…"

After some arduous and intense work participating in the setting-up of Studiowork, Sam Renseiw montaged the first bouts of footage into a short trailer. Enter a moment of intense interior views with fine perhaps by clicking here or on the links above. (patafilm # 837,02'02'', 36MB, Quicktime/mov - other versions at Bliptv)

Today's Bonus Lumiere Video features another sort of closing/opening.(Lum # 329, 01'00'',"unseenremains", 12MB, Quicktime/mov)

On geological maze & enlightened screening

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'If a straight line is the shortest distance between two fated and inevitable points, digressions will lengthen it; and if these digressions become so complex, so tangled and tortuous, so rapid as to hide their own tracks, who knows - perhaps death may not find us, perhaps time will loose its way, and perhaps we ourselves can remain concealed in our shifting hiding places'

After wondering what the duality of juxtaposition of Geological-Museum-footage and screening-in-a-theatre-footage might actually reflect, Sam Renseiw starts with a quote by Calvino; View the (almost) straight line digression by clicking here or on the links above.(patafilm # 838, 04'18'', 79Mb, Qicktime/mov - other versions at Bliptv)

Today's Bonus Lumiere Video features a short foyer screening. (lum # 328, "grobfoyer-future short" 00'22'', 5.5Mb, Quicktime/mov)

On motor intentionality & best grip in voodles

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"..My (kino-eye)body has a grip on the world when my perception offers me a spectacle as varied and as clearly articulated as possible, and when my motor intentions, as they unfold, receive from the world the responses they anticipate. This Voodling-distinctness in perception and action defines a perceptual ground, a basis of my life, a general milieu for the coexistence of my body and the world." […] "Ordinary experience draws a perfectly clear distinction between sense experience and judgment. It sees judgment as the taking of a stand, as an effort to know something valid for me at every moment of my life, and for other minds, actual or possible; voodling experience, on the contrary, is taking appearance at its face value...This distinction disappears in voodling, because judgment is everywhere pure sensation is not, which is to say everywhere"

Sam Renseiw, having concocted a new docu-voodle from recorded footage during a sunny week-end, paraphrases (again) and realises that a “phenomenal field” in voodling is neither a representation nor a locus of representations. View the dimension of our bodily embeddedness in a perceptually coherent environment in the voodle by clicking here or on the links above. (patafilm # 836, 04'51'', 87MB, Quicktime/mov - other versions at Bliptv)

Today's Bonus Lumiere Video feature a straight forward choreography (Lum # 327 "goalie" . 01'00''. 17MB, Quicktime/mov)

On re-viewing a local Faireytale

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" The OBEY voodle can be explained as an experiment in Phenomenology. Heidegger describes Phenomenology as “the process of letting things manifest themselves.” Phenomenology attempts to enable people to see clearly something that is right before their eyes but obscured; things that are so taken for granted that they are muted by abstract observation.The first aim of voodling is to reawaken a sense of wonder about one’s environment. The OBEY voodles attempts to stimulate curiosity and bring people to question both the voodles and their relationship with their surroundings. Because people are not used to seeing voodles for which a motive is not obvious, frequent and novel encounters with voodles provoke thought(s) and possible frustration, nevertheless revitalizing the viewer’s perception and attention to detail. The voodle has no meaning but exists only to cause people to react, to contemplate and search for meaning in the voodle. Because OBEY voodle has no actual meaning, the various reactions and interpretations of those who view it reflect their personality and the nature of their sensibilities."

Going through almost overseen late-summer footage, Sam Renseiw rescued a traveling panorama. (while paraphrasing) View the central urban swoop, long gone by now, that nevertheless left more than one imprint in town that summer, by clicking here or on the links above. (patafilm # 835, 04'19'', 72Mb, Quicktime/mov - other versions on Blip.tv)

Today's Bonus Lumiere Video features a simple moment of shadowy exuberance.(Lum # 326 "lavazaz&light" 01'00'', 17MB, Quicktime/mov)

On more internal negotiations

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" As in a hall of mirrors, everyday personal negotiations for recognition and respect, or about right and wrong, are distorted and magnified, along with the general human fear of loneliness, exclusion and alienation. In the work, AC Bey presents these worries and speculations, inviting reflection(s) in a tunnel’s polyphonic choir of absurdities, oddities and grotesque banalities.."

Simultaneously present, Sam Renseiw attends a fine musical performance while lingering into the artistic Tunnel of Fear. View the not so frightening walk-through with fine soundtrack overlay by clicking here or on the links above. (patafilm # 835, 03'35'', 61Mb, Quicktime/mov - other versions at Bliptv)

Today's Bonus Lumiere Video features a more subdued, dancing hall (Lum # 325, 01'00'', tivoli ballet" 17Mb, Quicktime/mov)

and, it's a sad day: Steve Job departed. ( his fine commencement speech at Stanford, 2005 here)

On Your Blind Passenger

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“For me Voodling is tied to our ‘now’, to the moment between one second and the next. It constitutes a potential that is actualised and transformed into reality; an opening where concepts such as subject and object, inside and outside, proximity and distance are thrown up in the air only to be defined anew. Our sense of orientation is challenged, and the coordinates of our spaces, collective and personal, have to be renegotiated. Mutability and motion lie at the core of Voodling.”

Paraphrasing and taking a walk through OE's elongated, institutionalised Utopia, Sam Renseiw gets (almost) lost in coloured brume. Follow the formal perambulation from commencement to (re)emergence by clicking here or on the links above. (patafilm # 833, 03'38'', 64MB, Quicktime/mov - other versions at Bliptv) NB: OE's original version here, showing that some original colours (yellow-orange?) seem to be missing during the voodled walk.

Today's Bonus Lumiere Video features concentrated, desked, sitting moves, delineated. (Lum # 323, "analogue drafting", 01'00'', 17MB, Quicktime/mov)

On voodling poetics of waste

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" The centerpiece of B’s exhibition at C is a new architectural installation created especially for Copenhagen. The installation takes the form of a giant pissoir which drains directly onto the gallery floor, and which visitors are invited to enter and use. The pissoir, like many of B’s works, evokes the monumental neoclassicism that is a recurring strand in Western art and architecture. B’s installation satirizes this tradition, but also suggests a more serious point: how power attempts to use architecture to direct behavior – and to define what it means to be a citizen – even down to the codification of pissing."

On a short visit to the local art temple, Sam Renseiw fulfills his art-appreciation duties accordingly to the artist's wishes. View a moment of chartered indoor architectural grandeur complete with minor leak by clicking here or on the links above. (patafilm # 832, 03'09'',56MB, Quicktime/mov - other versions at Bliptv)

Today's Bonus Lumiere Video features a direct view on a paired moment of concentrated voyeurism. (lum # 323 "photographed photographers", 01'00'', 22 MB, Quicktime/mov)

On re-mapping(s) in memory voodles

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" We ought, then, to set up images of a kind that can adhere longest in memory. And we shall do so if we establish similitudes as striking as possible; if we set up images that are not many or vague but active; if we assign to them exceptional beauty or singular ugliness; if we ornament some of them, as with repetitive black painted stripes on the floor, so that the similitude may be more distinct to us; or if we somehow disfigure them, as by introducing one stained with blood or soiled with mud and smeared with red paint, so that its form is more striking, or by assigning certain comic effects to our voodles, for that, too, will ensure our remembering them more readily "

Affected, once again, by the task of facilitating a certain order in produced material(s), Sam Renseiw attempts to visualize the striped outlays for (arte)facts with some in-depth probes of adjacent spaces. View the short ars memoria with montaged inserts from ways of losing oneself in an image by clicking here or on the links above.(patafilm # 831, 03'48'', 65MB, Quicktime/mov - other versions at Bliptv)

Today's Bonus Lumiere Video features a straightforward detournement of body and space morphology.(Lum # 322, "ways of losing oneself ", 01'00'', 23MB, Quicktime/mov)

On voodling deja-vu preambulations

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“ A situation is always comic if it participates simultaneously in two series of events which are absolutely independent of each other, and if it can be interpreted in two quite different meanings […] When we make the cerebral state the beginning of an action, and in no sense the condition of a perception, we place the perceived images of things outside the image of our body, and thus replace perception within the things themselves.”

As if experiencing a deja-vu, Sam Renseiw wanders through corridors, entering new chambers and other spaces reminiscent of more influential and original ones View the almost complete perambulation through the hotel by clicking here or on the links above.(patafilm # 830, 09'27''152MB(!), Quicktime/mov - other versions at Bliptv)

Today's Bonus Lumiere Video features one way of loosing oneself in an image. (lum # 321,"ways of loosing oneself in an image" 01'00'', 17MB, Quicktime/mov)

On visuo_spatial_loops in voodles

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"The labels given to the components of the voodle memory reflect their function and the type of information they process and manipulate. The phonological loop is assumed to be responsible for the manipulation of accordion based information, whereas the visuo-spatial dance sketchpad is assumed to by responsible for manipulating visual images. The docu-voodle model proposes that every component of working memory has a limited capacity, and also that the components are relatively independent of each other..."

Just concocting further accumulated footage from Merging Grounds into a tense docu-voodle bit-map, Sam Renseiw frames some fine morphologies of body and space flows. View the (trans)fixed loop(s) as almost endless form of theatre, complete with jungle and risk:reclaim:entertain with friends, by clicking here or on the links above. (patafilm # 829,04'52'', 107MB, Quicktime/mov - other versions at Bliptv)

Today's Bonus Lumiere Video features yet more visuo-spatial loops, with a cameo appearance by Lilibeth. (Lum # 319, 01'00'', 22MB, Quicktime/mov)

On circling an internalized play

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"The Silent Retreat takes place in a circular formed dramatic space, lived in by the artist and two actors. Doused in a violet light and sparsely furnished, a psychodrama without a manuscript starts. Communication and social interactions become internalized, as there is no direct interpersonal contact, the performers find themselves in an environment that emphasizes their ‘bodily presence’. Their internalized thoughts and words are expressed through digital mediation, delayed and disrupted."

While visiting Merging Grounds, Sam Renseiw accumulated further footage of body and space morphologies. View the first docu-voodle by clicking here or on the links above.(patafilm # 328, 03'52'',87Mb, Quicktime/mov - other versions at Bliptv)

Today's Bonus Lumiere Video features a quiet dance. (lum#318, "risk reclaim entertain", 01'00'', 22MB, Quicktime/mov)

On short atmospheric insert(s) and travelling

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"New voodles may at first appear as mere codes of transmission for older achievement and established patterns of thought. But nobody could make the mistake of supposing that phonetic writing merely made it possible for the Greeks to set down in visual order what they had though and known before writing. In the same way printing made literature possible. It did not merely encode literature…In large measure, voodling is the spatialization of thought…The voodle reverses the purpose of travel, which until now had been to encounter the strange and unfamiliar."

Recapitualting short episodes from a stay in a summer school, Sam Renseiw continues investigating the lonely (docu)voodle genre, probing (once again) morphologoies of body and space with inserted repo-sounds underlay. View the visual cavalcade by clicking here or on the links above. (patafilm # 827, 03'11'', 65MB, Quicktime/mov - other versions at Bliptv)

Today's Bonus Lumiere Video features a more static yet blooming set-up. (Lum # 317 "me draw ipad",01'00'', 22MB, Quicktime/mov)

On horizon spaces and tunnel vision

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"… It is in a very different way that the space of horizons brings together the multiplicity of horizons. In this space all horizons are, as we said, side by side. At the same time, each horizon represent itself as including all the others. So the space of horizons cannot be incorporated into a single horizon's representation of things, that is, into (as we might put it) the structure of seeming that comes with being at the center of a hrorizon. No horizon, we might say, can represent the fact of its existing side by side with other horizons. But we al grasp the fact, that is, that our horizons exist side by side. I grasp the fact, and you grasp it. We grasp something that we cannot represent."

Visualy paraphrasing a matter of paradoxes, Sam Renseiw concocted a short metaphysical docu-voodle dipthych with pre-vacation footage from coast to [roller]coast. View the co-existance blend of neighbouring horizons with "in C" sample-mashes and tunel-visions by clicking here or on the links above.(patafilm # 826, 02'57'', 65MB, Quicktime/mov - other versions at Bliptv)

Today's Bonus Lumiere Video features yet another fixed horizon, with a particular moving start. (Lum # 316, 01'00'', 17MB, Quicktime/mov)

On linear midsummer investigations

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"236. When we look at a voodle, our eyes scan it repeatedly, always following a particular path. The path corresponds to a particular pattern of oscillation of the eyeballs in looking. It can happen that one such pattern switches to another, and that the two alternate ( A aspects). […] The purpose of this remark was to bring out what happens when a physiological explanation is offered. The psychological concept hangs out of reach of this explanation. 237. I'd like to say that what lights up here lasts only as long as I am occupied with the observed voodle in a particular way. ("see how it's looking")- "I"'d like to say- and is it so- Ask yourself, "How long am I struck by a voodle?" - how long is it new to me?"

With, once again, piles of accumulated footage to edit, Sam Renseiw blends long panoramic shots with folkloristic midsummer elements, continuing the ongoing exploration of body-space morphologies via short voodles. View the moving folklore study complete with diegetic soundbites by clicking here or on the links above. (patafilm # 825, 03'46'', 78MB, Quicktime/mov - other versions at Blip.tv)

Today's Bonus Lumiere Video features a casual choreography, on deck. (Lum # 315,"threesome", 01'00'', 17MB, Quicktime/mov)

On the enigmatic in compiled voodles

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13. When we say: "Every voodle signifies something" we have so far said nothing whatever; unless we have explained exactly what distinction we wish to make. (it might be, of course, that we wanted to distinguish the images from voodles from images "without meaning" such as occur in Lewis Carol's poems, or images like Lilliburlero in songs.) 15. The word "to signify" is perhaps the most straightforward way when the object signified is marked with the sign….It will often prove useful in voodling to say to ourselves: naming something is like attaching a label to a thing."

Having (once again) an enormous pile of recent leftover footage to digest, Sam Renseiw compiled, in best montage fashion, some excerpts into yet another significant docu-voodle. View the philosophical investigative enigma slowly unfolding by clicking here or on the links above. (patafilm # 824, 03'41'', 83MB, Quicktime/mov - other versions at Bliptv)

Today's Bonus Lumiere Video feature a straight forward view to a (per)parade exercise (Lum # 314, "drummer rehearse",01'00'', 17MB, Quicktime/mov)

On strolling Your Rainbow Panorama

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"25. In the cinema we can sometimes see the events in the film as if they lay behind the screen and it were transparent, rather like a pane of glass. The glass would be taking the coulour away from things and allowing only white, grey and black to come through. (Here we are not doing physics, we are regarding white and black as colours just like green and red).- We might thus think that we are here imagining a pane of glass that could be called white and transparent. And yet we are not tempted to call it that: so does the analogy with, e.g. a transparent green pane break down somewhere? 26. We would say, perhaps, of a green pane: it colours the things behind it green, above all the white behind it. 27. When dealing with logic, "One cannot imagine that" means: one doesn't know what one should imagine here."

Pondering on some of Wittgenstein's early coulour comparisons, Sam Renseiw recently visited the inside of newly completed Your Rainbow Panorama. View the colorful odyssey with a 360 degree panorama of Aarhus by clicking here or on the links above. (patafilm # 823, 04'54'', 112MB, Quicktime/mov - other versions at Bliptv)

Today's Bonus Lumiere Video features a still view. Lum # 313 "her rainbow panorama", 01'00'', 17Mb, Quicktime/mov)

On voodling factual situation(s) in voodle(s)

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"2.1 We voodle facts to ourselves. 2.11 A voodle presents a situation in logical space, the existence and non-existence of states of affairs. 2.12 A voodle is a model of reality. 2.13 In a voodle objects have the elements of the voodle corresponding to them. 2.131 In a voodle the elements of the voodle are the representatives of objects. 2.14 What constitutes a voodle is that its elements are related to one another in a determinate way. 2.141 A voodle is a fact. 2.15 The fact that the elements of a voodle are related to one another in a determinate way represents that things are related to one another in the same way. Let us call this connexion of its elements the structure of the voodle, and let us call the possibility of this structure the voodling form of the voodle. 2.151 Voodling form is the possibility that things are related to one another in the same way as the elements of the voodle.2.1511 That is how a voodle is attached to reality; it reaches right out to it. 2.1512 It is laid against reality like a measure. 2.15121 Only the end-points of the graduating lines actually touch the object that is to be measured. 2.1514 So a voodle, conceived in this way, also includes the voodled relationship, which makes it into a voodle[…] 2.17 What a voodle must have in common with reality, in order to be able to depict it--correctly or incorrectly--in the way that it does, is its voodling form. 2.171 A voodle can depict any reality whose form it has. A spatial voodle can depict anything spatial, a fjorded one anything fjordlike, etc. 2.172 A voodle cannot, however, depict its voodling form: it displays it."

Submerged by commuting work, visual impressions and recorded footage overflow, Sam Renseiw nevertheless concocted a fine naturalistic docu-voodle while pondering on some of Wittgenstein's sentences...View the heavy fjord-leaning landscape-concentrate with particular isolated interiors by clicking here or on the links above. (patafilm # 822, 04'01'', 85MB, Quicktime/mov - other versions at Bliptv)

Today's Bonus Lumiere Video features a fine aft trail (lum # 312,"fjord trailling" 01'00'', 17MB, Quicktime/mov)

On further visual investigations in voodles

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" 35. There are, of course, what can be called "characteristic experiences" of pointing to (e.g.) the shape. For example, following the outline with one's finger or with one's eyes as one points. —But this does not happen in all cases in which I 'mean the shape', and no more does any other one characteristic process occur in all these cases.— Besides, even if something of the sort did recur in all cases, it would still depend on the circumstances— that is, on what happened before and after the pointing—whether we should say "He pointed to the shape and not to the color". For the words "to point to the shape", "to mean the shape", and so on, are not used in the same way as these', "to point to this voodle (not to that one), "to point to the chair, not to the table", and so on.— Only think how differently we learn the use of the words "to point to this thing", "to point to that thing", and on the other hand "to point to the colour, not the shape", "to mean the colour", and so on. To repeat: in certain cases, especially when one points 'to the shape' or 'to the number' there are characteristic experiences and ways of pointing—'characteristic' because they recur often (not always) when shape or number are 'meant. But do you also know of an experience characteristic of pointing to a piece in a space as a piece in a voodle. All the same one can say: "I mean that this piece is called the 'chair', not this particular bit of wood I am pointing to". (Recognizing, wishing, remembering, etc…) "

Getting on with more duck-rabbit comparisons, Sam Renseiw concocted one more fragmented docu-voodle with shining ambiguity, yet with utmost precision in the factual outlines. View the investigative piece (including visits to other art-spaces) with fabulous footage from Wittgenstein's Lake Eidsvatnet view in Skjolden by clicking here or on the links above. (patafilm # 821, 03'44'', 79 MB, Quicktime/mov - other versions at Blip.tv)

Today's Bonus Lumiere Video features a sublime minute of pure duck-rabbit visuality. (lum # 311, "wittgenstein's lake view", 01'00'', 17 MB, Quicktime/mov)

On Living Sculptures and other accords

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"In principle, “an accord” is a mutual agreement, between two or more parties. The agreement is in essence, a political one; it connotes “the social accord,” the instant we give up our sovereignty as citizens to a government or other authority, in the name of maintaining social order through “the rule of law.” Arguably, the (art) institution is a legal body that functions within similar parameters of publicly endowed trust, between written and unwritten agreements. [....] What types of participation are condoned, accepted, supported and allowed within the institution? Can mutual understanding be fortified through a breach of trust or displacement of expectation? Can curatorial and artistic tactics of engagement with(in) the institution reveal not only its politics, but elucidate a particular political condition? What tools are at our disposal, as visitors, as guests to the institution, as parties within an implied accord, within the actual, social and discursive spaces the institution has founded?"

Just passing by, recently, Sam Renseiw encountered a slow moving bunch, seemingly working out some accord in public, only to later discover the in-situ curatorial meaning. View the docu-voodled grey demo with added slo-mo by cliking here or on the links above. (patafilm # 820, 04'33'', 64MB, Quicktime/mov - other versions at Bliptv)

Today's Bonus Lumiere Video features a moving vista from a bridge (Lum # 310, "fjordvison-bridge" 01'00'', 17MB, Quicktime/mov)

On architectural investigations in voodle

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" 65./ Here we come up against the great question that lies behind all these considerations….- for someone might object against me: " You take the easy way out! You talk about all sorts of voodle games, but have nowhere said what the essence of a voodle-game and hence voodling, is: what is common to all these activities, and what makes them into voodles or parts of voodling. So you let yourself off the very part of the investigation that once gave you yourself most headache, the part about the general form of footage recordings and of voodling." And this is true.- instead of producing something common to all we call patafilmic language, I am saying that those phenomena have no one thing in common which makes us use the same word for all.- but because that they are related to one another in many different way. And it is because of this relationship, or these relationships, that we call them all "voodles".

Pondering on the intricacies of visual language & mixing cross-references, all the while attempting to maintaining an architectural stance, Sam Renseiw recently recorded pin-up footage in a closed space, accompanied by yellow submarine excerpts. View the condensed phenomenological docu-voodle essay from a norwegian re_mote exercise by clicking here or on the links above. (patafilm # 819,42MB, 03'02'', Quicktime/mov - other versions at bliptv)

Today's Bonus Lumiere Video features a leafing-through more condensed re_moteness material. (lum# 309, 01'00''14 MB, Quicktime/mov)

And: a relevant patalab Lumiere (2010re-play mermaid_exchange) Free Ai Weiwei ! (free_aiweiwei-lum, 01'00'',13MB, Quicktime/mov)

On enigmas of voodle transparency

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"The essential difference between painting and voodles is the difference in the manner in which they, not the beliefs of those who see them, are based on beliefs of their makers. Voodles are counterfactually dependent on the voodled scene(s) even if the beliefs (and other intentional attitudes) of the voodler are held fixed. Paintings which have a counterfactual dependence on the scene portrayed lose it when the beliefs and the visual experiences which the viewer derives from a picture are dependent on the picture maker's beliefs in whichever manner the picture itself is. I order to see through the voodle to the scene(s) depicted, the viewer must have visual experiences which do not depend on the voodler's beliefs in the way film or paintings do. We can leave open the question of whether, to be seeing (the voodle)scene(s), the viewer must have beliefs about it and what connection there might be between his/her visual experiences and beliefs."

Reflecting on the state(s) of visual readings in an advanced digital age, Sam Renseiw montaged bits and bouts from recently recorded footage into a enigmatic docu-voodle; Thus maintaining, in chronological (and slow obssessive-complusive) diary manner, a Proustian pursuit of matter and memory. View the cut-up, filmic document with footage from three cities, by clicking here or on the links above. (patafilm # 818, 04'39'', 61MB, Quicktime/mov -other versions at Bliptv)

Today's Bonus Lumiere Video features a simple, straight-forward scene of age-old activity, re-performed. [Lum #308," sandvikan drummers", 01'00'', 17MB, Quicktime /mov)

On more meta-voodling & framing

click for video: Quicktime / .m4v for iPod/pad / direct streaming for PC

" Let's see. Perhaps at first you feel a bit lost, as when a person appears who, from the frame, you identified with a certain face, and you try to make the features you are seeing tally with those you had in mind, and it won't work. But then you go on and realize that the pad is viewable nevertheless, independently of what you expected of the voodler. It's the voodle in itself that arouses your curiosity; in fact, on sober reflection, you prefer it this way, confronting something and not quite knowing yet what it is."

Just pictures from an exhibition muses Renseiw while following a guest recording her own footage with a brand new device, re-po_capturing imagery in self-referential mode.. View the meta-voodling footage by clicking here on on the links above. (patafilm # 817, 02'54'', 37MB, Quicktime/mov - other versions at Blip.tv)

Today's Bonus Lumiere Video also features meta-footage, this time even meta-meta., from another exhibition (lum # 307, "fourth wall", 01'00'', 14Mb, Quicktime/mov)