Monday, April 25, 2016

On unwinding the clue of tao

"the way is like walking aimlessly" from sam renseiw on Vimeo.


"We look at it, and we do not see it, and we name it 'the Equable.' We listen to it, and we do not hear it, and we name it 'the Inaudible.' We try to grasp it, and do not get hold of it, and we name it 'the Subtle.' With these three qualities, it cannot be made the subject of description; and hence we blend them together and obtain The One. Its upper part is not bright, and its lower part is not obscure. Ceaseless in its action, it yet cannot be named, and then it again returns and becomes nothing. This is called the Form of the Formless, and the Semblance of the Invisible; this is called the Fleeting and Indeterminable. We meet it and do not see its Front; we follow it, and do not see its Back. When we can lay hold of the Tao of old to direct the things of the present day, and are able to know it as it was of old in the beginning, this is called (unwinding) the clue of Tao."

With a quote from Lao-Tzu, Sam Rensiew presents a rare piece of docu-video; While embedded in an recent exercise in a distant Norwegian Fjord, Sam Renseiw (undercover as his alter-ego) captured footage of the way of walking aimlesly, following a prescribed text from a young korean explorer. View the ensuing audio-visual amalgam by cliking here or on the icon above. [" walking aimlesly // DL 16 " 07'34'', 266MB, Quicktime/mov, vimeo]

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Monday, February 22, 2016

On the whole and On the parts



"There are four kinds of people in this world: cretins, fools, morons, and voodlers…Cretins don’t even talk; they sort of slobber and stumble…Fools are in great demand, especially on social occasions. They embarrass everyone but provide material for conversation…Fools don’t claim that cats bark, but they talk about cats when everyone else is talking about dogs. They offend all the rules of conversation, and when they really offend, they’re magnificent…Morons never do the wrong thing. They get their reasoning wrong. Like the fellow who says that all dogs are pets and all dogs bark, and cats are pets, too, therefore cats bark…Morons will occasionally say something that’s right, but they say it for the wrong reason…A Voodler is easily recognized. He is a moron who doesn’t know the ropes. The moron proves his thesis; he has logic, however twisted it may be. The voodler on the other hand, doesn’t concern himself at all with logic; he works by short circuits or recetly vine videos. For him, everything proves everything else. The voodler is all idée fixe, and whatever he comes across confirms his voodlings. You can tell him by the liberties he takes with common sense, by his flashes of inspiration, and by the fact that sooner or later he brings up Jean-Luc Godard …There are voodlers who don’t bring up Godard, but those who do are the most insidious. At first they seem normal, then all of a sudden…"

…they produce yet another vine compilation"
As does Sam Renseiw, paraphrasing Umberto Eco the great (RIP)…"Who said that peace derives from the contemplation of order, order understood, enjoyed, realized without residuum, in joy and triumph, the end of effort? All is clear, limpid; the eye rests on the whole and on the parts and sees how the parts have conspired to make the whole; it perceives the center where the lymph flows, the breath, the root of the whys...." Enjoy the latest Renseiw vine- compilation, captured in tiny audio-visual chunks the past 6 months. [vinecompilation # 11, 26'37'', 957 MB, quicktime/mov, also on vimeo.]

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Thursday, December 31, 2015

On link procrastination(s)



 “Time is an equal opportunity employer. Each human being has exactly the same number of hours and minutes every day. Rich people can't buy more hours. Scientists can't invent new minutes. And you can't save time to spend it on another day. Even so, time is amazingly fair and forgiving. No matter how much time you've wasted in the past, you still have an entire tomorrow.”

 I know. I did promise. I did. I would re-upload most of the past decade of lumiere(s) and patafilm voodles, after the Blip'ish demise. I managed about 180, so far. Meaning: 2005 and 2006 are ascessible on the blog, as are most of the past 3 years patafilm(s). That leaves about 680 re-links. It is on the way… If you find non working links in the in-between, try see if they might be on archive.org (sam patafilm/lumiere #(s) as in the posts texts) 

In the mean time: thank you so much for following the work (somehow, somewhere in theses times of multiple platforms. Yet: the voodles look great on iphones and ipadminis, even the oldest ones. Try. A happy, prosperous and hopefully peaceful 2016 to all of you from your's sincerely: Sam R. (new year 15 voodle, 00' 50'', 33 MB, quicktime/mov /Vimeo)

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Tuesday, December 15, 2015

On islands of calibrated form & duration(s)



 “But, then, I cannot escape the objection that there is no state of mind, however simple, which does not change every moment, since there is no consciousness without memory, and no continuation of a state without the addition, to the present feeling, of the memory of past moments. It is this which constitutes duration. Inner duration is the continuous life of a memory which prolongs the past into the present, the present either containing within it in a distinct form the ceaselessly growing image of the past, or, more profoundly, showing by its continual change of quality the heavier and still heavier load we drag behind us as we grow older. Without this survival of the past into the present there would be no duration, but only instantaneity.”   …  “The world is not a solid continent of facts sprinkled by a few lakes of uncertainties, but a vast ocean of uncertainties speckled by a few islands of calibrated and stabilized forms”

While quoting both Bergson and Latour, Renseiw uploaded his latest visual concoction: a precise(ly) timed and crafted docu-voodle investigating in pataphysical manner(s) the Actor-Network theory and its repercussions in duration fields. View the assemblage by cliking on the icon above. [patafilm # 872, 04'41'', 168MB, Quicktime/mov, Vimeo.com/archive.org]

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Friday, November 27, 2015

On the metaphysics of compilations


 "Thus, then, are compilations produced; all other productions are called 'Vine-makings'. And all makings proceed either from art or from a faculty or from thought. Some of them happen also spontaneously or by luck just as natural products sometimes do; for there also the same things sometimes are produced without seed as well as from seed."…"The question might be raised, why some things are produced spontaneously as well as by art, e.g. health, while others are not, e.g. a house. The reason is that in some cases the matter which governs the production in the making and producing of any work of art, and in which a part of the product is present,-some matter is such as to be set in motion by itself and some is not of this nature, and of the former kind some can move itself in the particular way required, while other matter is incapable of this; for many things can be set in motion by themselves but not in some particular way, e.g. that of dancing. The things, then, whose matter is of this sort, e.g. stones, cannot be moved in the particular way required, except by something else, but in another way they can move themselves-and so it is with fire. Therefore some things will not exist apart from some one who has the art of making them, while others will; for motion will be started by these things which have not the art but can themselves be moved by other things which have not the art or with a motion starting from a part of the product."..."Therefore, as in syllogisms, substance is the starting-point of everything. It is from 'what a thing is' that syllogisms start; and from it also we now find processes of production to start."

While pondering on the sheer volume of the accumulated Vines from spring and sommer 2015, Sam Renseiw compiled the lot into one MegaVoodle, while paraphrasing part 8 of book VII of Aristotle's Metaphysics. Enjoy the lenghty compilation of max 6'' visual bites from - Hamburg, Kalkriese, Münster, Düsseldorf, Essen, Köln, Hombroich, Copenhagen, Bergen, Faxe Ladeplads, Ll.Elmue, Præstø, Nice, Rochebrune, Venice, Burano, by cliking on the above or on this link. [vinecompilation # 10, 47'58'', 1.2GB, quicktime/mov, Vimeo]

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Monday, October 12, 2015

On voodling a(s) spectacle



 "The spectacle manifests itself as an enormous positivity, out of reach and beyond dispute. All it says is: "Everything that appears is good; whatever is good will appear." The attitude that it demands in principle is the same passive acceptance that it has already secured by means of its seeming incontrovertibility, and indeed by its monopolization of the realm of appearances."

 "Voodling is the antithesis of quotation, of a theoretical authority invariably tainted if only because it has become quotable, because it is now a fragment torn away from its context, from its own movement, and ultimately from the overall frame of reference of its period and from the precise option that it constituted within that framework. Voodling, by contrast, is the fluid language of antiideology. It occurs within a type of communication aware of its inability to enshrine any inherent and definitive certainty. This language is inaccessible in the highest degree to confirmation by any earlier or supracritical reference point. On the contrary, its internal coherence and its adequacy in respect of the practically possible are what validate the ancient kernel of truth that it restores. Voodling founds its cause on nothing but its own truth as critique at work in the present." 

Paraphrasing Debord (again), Sam Renseiw post a short moment of voodled spectacle, resuming the visual body-space-morphology investigations, further speculating on the various nature(s) of Open-Form manifestations. [patafilm # 871b, 68MB, 01'59'', quicktime/mov]

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Tuesday, August 25, 2015

Me and I & (most) winter-Vines


 
“Do you have doubts about life? Are you unsure if it's worth the trouble? Look at the sky: that is for you. Look at each person's face as you pass on the street: those faces are for you. And the street itself, and the ground under the street and the ball of fire underneath the ground: all these things are for you. They are as much for you as they are for other people. Remember this when you wake up in the morning and think you have nothing. Stand up and face the east. Now praise the sky and praise the light within each person under the sky. It's okay to be unsure. But praise, praise, praise[…]Don't wait to be sure. Move, Voodle, move, Vine.”

Paraphrasing July - no one belongs here more than you - Renseiw finally compiled this long winter Vine footage into one, six_second_staccato glide, lasting for about half an hour, complete with diegetic sound; From January 1st to April 7th 2015. With some re-currences, the footage becomes a precise (personal) diary, albeit discretely missing (in direct imagery) some of the mosts shattering events during the period. [RIP: Finn Nørgaad ferbruary 14th and Ais Winther Jensen-april 7th: two friends gone, now greatly missed] (Vinecompilation # 9, 29'53'', 1.2GB, Quicktime/mov)

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Sunday, August 23, 2015

On detournement and closure(s)



“All of old. Nothing else ever. Ever tried. Ever failed. No matter. Try again. Fail again. Fail better…The tears of the world are a constant quantity. For each one who begins to weep somewhere else another stops. The same is true of the Voodle…"  “Normally I did see a great deal. I did hear a great deal also. I did pay attention. Strictly speaking I was there. Always.  Strictly speaking I believe I’ve been Voodling almost anywhere.”

On the 20th of August two things occurred, almost simultaneously:
A) Blip.tv, hosting spacetwo-patalab's video unfortunately did shut down, meaning most of the spacetwo-patalab vlogposts will no longer generate any videolinks. (Will be fixed with archive.org oploads // new links in time - promissed) B) Sam Renseiw video "detournement" was prized at the Henning Larsen Foundation Film and Architecture Competition in Copenhagen. Watch it above and below is a prosaic description, for those who might find the imagery to baffling.

Filmed on location at Højerup old church in south-eastern Zealand, the video is a “one-shot”, i.e. a continuous recording in time and space from the perspective of a single handheld camera eye, without a single cut. The chronology of the footage is maintained throughout the video, meaning that the recording proceeded while walking backwards.

Starting with a calm horizontal view of the sea, the image very slowly recedes into an interior space, via some interstitial metal railing. Receding further, a nave like space appears with old fashioned, church like benches on each side; The view then slowly tilts up to the ceiling, to reveal some medieval church frescoes, and a recognizable older church space, to then proceed further backwards into a 90 degree right cornering, into a anti-chamber like space; this space is traversed until exiting a door in a larger red brick wall conglomerate. The panoramic viewing is then maintained, but focusing on ground details, until meeting a longer, low wall like structure. The camera-eye then tilts over the wall to reveal a view of an elderly, smaller timber framed house structure with thatched roofing, in a larger garden-like setting.

Throughout the length of the video one is constantly confronted with various aspects of time and space speculations: the principal setting of the location near Stevns Klint in the south–eastern part of Zeeland is considered of great geological importance as one of the best exposed Cretaceous/Tertiary boundaries in the world (66 mil. years).The original Romanesque church was build around 1250 at some distance from the cliffs, and slightly modified onwards. The church ceased functioning as a church in 1910, due to the dangers of erosion. In 1928 the sacristy and the choir disappeared into the sea as the cliffs finally collapsed. The church was subsequently safeguarded with concrete ramparts on the seaside, with an added outdoor viewing terrace in place of the choir. The church is since accessible to the public on request.

Soundscape underlay: The road away by Kres5jik  // Kres5jik.com

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Sunday, May 17, 2015

On closed spaces and open form(s)



"For the heart, life is simple: it beats for as long as it can. Then it stops. Sooner or later, one day, this pounding action will cease of its own accord, and the blood will begin to run toward the body's lowest point, where it will collect in a small pool, visible from outside as a dark, soft patch on ever whitening skin, as the temperature sinks, the limbs stiffen and the intestines drain.[…]The moment life departs the body, it belongs to death. At one with lamps, suitcases, carpets, door handles, windows. Fields, marshes, streams, mountains, clouds, the sky. None of these is alien to us. We are constantly surrounded by objects and phenomena from the realm of death."

Pondering on the phenomenologies of the formality of frozen fields in regards to freely unfolding (new) form openings, Sam Renseiw quotes a short passage from K.O Knausgaard's own struggle (Book 1) while unraveling the latest docu-voodle clickable above-with fine soundtrack from kres5jik underlay; [patafilm # 869, 05'31'', 186MB, Quicktime/mov, other version at Bliptv.

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Tuesday, May 05, 2015

On [interior] species of spaces



…We uses our eyes for seeing. Our Field of vision reveals a limited space, something vaguely circular, which ends very quickly to left and right, and doesn't extend very far up or down..[…] Our gaze travels through space and gives us the illusion of relief and distance. That is how we construct space, with an up and a down, a left and a right, an in-front and a behind, a near and a far…

Recently trapped in a deserted northern farm-set piece, Sam Renseiw collected some vaguely circular footage in a recurring traveling interior panorama, while reminiscing of Perec (again)… Get a left-winged travel through time and space tinged by ambient fugue state by clicking on the icon above. [Patafilm # 868, 05'59'', 220MB, Quicktime/mov - other versions at Blip.tv]

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Sunday, January 25, 2015

On gaze at grips with a visible world



“It is no more natural and no less conventional to shout in anger or to kiss in love than to call a table 'a table'. Feelings and passional conduct are invented like words. Even those which like paternity seem to be part and parcel of the human make-up are in reality institutions. It is impossible to superimpose on man a lower layer of behavior which one chooses to call 'natural' followed by a manufactured cultural or spiritual world. Everything is both manufactured and natural in man as it were in the sense that there is not a word, not a form of behavior which does not owe something to purely biological being and which at the same time does not elude the simplicity of animal life and cause forms of vital behavior to deviate from their pre-ordained direction through a sort of leakage and through a genius for ambiguity which might serve to define man.”

“I discover vision, not as a "thinking about seeing," to use Descartes expression, but as a gaze at grips with a visible world, and that is why for me there can be another's voodling gaze.” ... Sam Renseiw paraphrases again Merleau-Ponty and his Phenomenology of Perception after a short visit to Qvarnström & Lagerwall's "Monument" at the 2015 Spring Exhibition in Charlottenborg Kunsthall. Enjoy the elongated deviated footage leakage by clicking on the icon above;  [patafilm # 867, 03'09'', 90.2MB, Quicktime/mov / Mv4, other formats at blip.tv]

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Thursday, January 08, 2015

je suis (aussi) charlie




















I used to read Cabu's Le grand Duduche, Les Aventures du Beauf, Pilote and lots and lots of Wolinski's. They taught me about the subtleties of radically free humour and pataphysics.     Very, very very sad.   RIP.

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Wednesday, December 31, 2014

On Vine as combinatorials


vine compilation # 8


 "Vining is a combinatorial game that pursues the possibilities implicit in its own material… The short video footage captures places the voodler//viner inside a strange loop of production: The so-called personality of the voodler//viner exists within the very act of voodling//vining: it is the product and instrument of the video capturing process. The voodler//viner's creative act becomes one of re-creation, in the sense of both a playful act and a derivative one…" 

Paraphrasing Calvino's "Cybernetic & Ghosts", Sam Renseiw, in a state of calm OCD, ammassed a great deal of short Vines lately. As this end-of-year's treat, enjoy the comprressed, chronological compilation by cliking on the icon above to re-view the undfolding of body-space morphologies. [vinecompilation # 8, 948MB, 27'22'', Quicktime/mov - other versions at blip.tv]

A happy new year to all viewers. More next year.  Best Sam R.



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Monday, December 15, 2014

On the space of waiting



 " You have changed lately. You don’t know whom you can trust anymore. Nothing seems to be, as you know it. You are confused. You need help. Therefore you have been called for observation in the psychiatric waiting place, the Laguna, for a five hour psychological screening…. The Laguna, is a temporary residence where psychiatric patients can stay for up to a year. The institution houses approximately 25 non-violent patients primarily of Non Danish European descent…. During your stay you will participate in different tests and activities with your co-patients….Waiting time may occur..."

Embedded (once more) in a new, challenging performative setting, Sam Renseiw managed to capture some snippets of (under-cover) footage under the duress of a five hours, continuous psychological screening session. View the short docu-voodle mash-up by cliking here or on the icon above. [patafilm # 866, 02'17'', 69MB, Quicktime/mov] 

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Friday, December 05, 2014

On fieldwork voodling : distant voices



 " Suddenly the sight before me was recast in a manner satisfying to my vague expectation. Only afterwards did I recognize, as justifications for the change, the resemblance and contiguity of what I call ‘stimuli’— namely the most determinate phenomena, seen at close quarters and with which I compose the ‘true’ world. ‘How could I have failed to see that these pieces of wood were an integral part of the ship? For they were of the same colour as the ship, and fitted well enough into its superstructure.’ But these reasons for correct perception were not given as reasons beforehand. The unity of the object is based on the foreshadowing of an imminent order which is about to spring upon us a reply to questions merely latent in the landscape. It solves a problem set only in the form of a vague feeling of uneasiness, it organizes elements which up to that moment did not belong to the same universe and which, for that reason, as Kant said with profound insight, could not be associated. By placing them on the same footing, that of the unique object, synopsis makes continuity and resemblance between them possible. An impression can never by itself be associated with another impression.” 

Quoting a passage Merleau-Ponty's Perceptive Phenomenology, Sam Renseiw, having concotted another conglo-merate of boxed footage fragments of a recent Fieldworks performance, posts yet another performative docu-voodle.  Enjoy the sublte sublime moves of Heine Avdal and Yukiko Shinozaki & co by clicking on the icon above. (patafilm # 865, 08'46'', 249MB, quicktime/mov)

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Wednesday, November 12, 2014

On voodling and the beach man's sandy burden



“Hutte, for instance, used to quote the case of a fellow he called "the beach man." This man had spent forty years of his life on beaches or by the sides of swimming pools, chatting pleasantly with summer visitors and rich idlers. He is to be seen, in his bathing costume, in the corners and backgrounds of thousands of holiday snaps, among groups of happy people, but no one knew his name and why he was there. And no one noticed when one day he vanished from the photographs. I did not dare tell Hutte, but I felt that "the beach man" was myself. Though it would not have surprised him if I had confessed it. Hutte was always saying that, in the end, we were all "beach men" and that "the sand" - I am quoting his own words - "keeps the traces of our footsteps only a few moments.”

Further compiling snipnets of quotidian (obsessive-compulsively, but with a certain research attidude ) Sam Renseiw gathers the latests (short-cut)imagery into the long awaited late-summer / fall vine compilation, feeling like an unspecified "beach man", while paraphrasing Patrick Modiano… Enjoy the extended compression by cliking here or on the image above. (Vinecompilation # 7, 19'29'' 482MG, Quicktime/mov)

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Thursday, July 10, 2014

On Vining Ad Herennium manner



"Now nature herself teaches us what we should do. When we see in every day life things that are petty, ordinary, and banal, we generally fail to remember them, because the mind is not being stirred by anything novel or marvellous. But if we see or hear something exceptionally base, dishonourable, unusual, great, unbelievable, or ridiculous, that we are likely to remember for a long time. Accordingly, things immediate to our eye or ear we commonly forget; incidents of our childhood we often remember best. Nor could this be so for any other reason than that ordinary things easily slip from the memory while the striking and the novel stay longer in the mind. A sunrise, the sun's course, a sunset are marvellous to no one because they occur daily.

We ought, then, to set up Vines of a kind that can adhere longest in memory. And we shall do so i f we establish similitudes as striking as possible; if we set up images that are not many or vague but active (imagines agentes); if we assign to them exceptional beauty or singular ugliness; if we ornament some of them, as with crowns or purple cloaks, 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 or smeared with red paint, so that its form is more striking, or by assigning certain comic effects to our images, for that, too, will ensure our remembering them more readily. The things we easily remember when they are real we likewise remember without difficulty when they are figments. But this will be essential-again and again to run over rapidly in the mind all the original places in order to refresh the images."


Paraphrasing a passage from Ad Herennium, Sam Renseiw compiled an ever growing amount of recent Vines into a nearly half-hour Voodle chronological pêle-mêle of exeptional beauty (also inserted, shorter moments of singular ugliness) for subsequent scrutiny and visual aide-memoire. Enjoy. (Vinecompilation # 6, 24'10'', 601MB, Quicktime/mov, Vimeo)

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Monday, May 12, 2014

On Vining as space-time continuum

vinecompilation # 5 from sam renseiw on Vimeo.



"Synaesthetic Vining is a space-time continuum. It is neither subjective, objective, nor nonobjective, but rather all of these combined: that is to say, extra-objective. Synaesthetic and psychedelic mean approximately the same thing. Synaesthesis is the harmony of different or opposing impulses produced by a work of art. It means the simultaneous perception of harmonic opposites. Its sensorial effect is known as synaesthesia, and it's as old as the ancient Greeks who coined the term … Any dualism is composed of harmonic opposites: in/out, up/ down, off/on, yes/no, black/white, good/bad. Past aesthetic traditions, reflecting the consciousness of their period, have tended to concentrate on one element at a time. But the Paleocybernetic experience doesn't support that kind of logic. The emphasis of traditional logic might be expressed in terms of an either/or choice, which in physics is known as bistable logic. But the logic of the Cybernetic Age into which we're moving will be both/and, which in physics iscalled triadic logic. Physicists have found they can no longer describe phenomena with the binary yes/no formula but must operate with yes/no/maybe."

Quoting/paraphrasing from Youngblood's seminal "Expanded Cinema", Sam renseiw extrapolates further via a newly compiled condensation of onehundredandsixty Vines from spring 2014 (February - May), giving patalab viewers new insights into the mundanities of recorded quotidian via Vine. (vinecompliation # 5, , 14'44'', 365 MB, Quicktime/mov > at Vimeo)

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Wednesday, March 19, 2014

On interstitial space(s) in wunderkammer



"…I can easily believe, that there are more invisible than visible Beings in the universe. But who shall describe for us their families? and their ranks and relationships and distinguishing features and functions? What they do? where they live? The human mind has always circled around a knowledge of these things, never attaining it. I do not doubt, however, that it is sometimes beneficial to contemplate, in thought, as in a Picture, the image of a greater and better world; lest the intellect, habituated to the trivia of daily life, may contract itself too much, and wholly sink into trifles. But at the same time we must be vigilant for truth, and maintain proportion, that we may distinguish certain from uncertain, day from night…"

"If a man could pass through Paradise in a dream, and have a Voodle presented to him as a pledge that his soul had really been there, and if he found that Voodle in his browser when he awake - Aye, what then? " paraphrases Renseiw presenting one of his latetest concotions (belated wunderkammer footage, apparently)

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Wednesday, February 19, 2014

On wabi-sabi distortions and kimonos


" Contrary to the Romantic belief that we each settle naturally on a fitting idea of beauty, it seems that our visual and emotional faculties in fact need constant external guidance to help them decide what they should take note of and appreciate. 'Voodle' is the word we have assigned to the force that assists us in identifying which of our many sensations we should focus on and apportion value to.”

"My experience is what I agree to attend to. Only those items which I notice shape my mind…." Indeed, quotes Sam Renseiw, while having paraphrased de Botton further up on this post, regarding the matter of re-viewing chopped-up kimono footage from last summer, refashioned wabi-sabi like into a parachuted, late docu-voodle. Enjoy. [ patafilm # 862,03.41'', 61MB, Quicktime/mov, other versions on Bliptv ]

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Tuesday, February 11, 2014

Of macro distortion and didactic interior



"…In my Voodling I am acting as a map maker, an explorer of psychic areas, a cosmonaut of inner space, and I see no point in exploring areas that have already been thoroughly surveyed…Thus, your mind will answer most questions if you learn to relax and wait for the answer.."

Paraphrasing Burroughs (a few days after the centenary), Sam Renseiw concocted snippets of left-over interior footage from last summer into some cosmonauting spread of inner spaces… Enjoy meditating on the question(s). [Patafilm # 863, 02'59'', 58 MB, Quicktime/mov - other versions at Bliptv]

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Thursday, January 23, 2014

Of basic distortions and the sublime



"..It is one thing to make an idea clear, and another to make it affecting to the imagination. If I make a drawing of a palace, or a temple, or a landscape, I present a very clear idea of those objects; but then (allowing for the effect of imitation which is something) my picture can at most affect only as the palace, temple, or landscape, would have affected in the reality. On the other hand, the most lively and spirited verbal description I can give raises a very obscure and imperfect idea of such objects; but then it is in my power to raise a stronger emotion by the description than I could do by the best photographic image. This experience constantly evinces. The proper manner of conveying the affections of the mind from one to another is by Voodles; there is a great insufficiency in all other methods of communication; and so far is a clearness of imagery from being absolutely necessary to an influence upon the passions, that they may be considerably operated upon, without presenting any image at all, by certain sounds adapted to that purpose; of which we have a sufficient proof in the acknowledged and powerful effects of instrumental music.[…] In reality, a great clearness helps but little towards affecting the passions, as it is in some sort an enemy to all enthusiasms whatsoever."

Paraphrasing the young Burke, Sam Renseiw ponders on the nature of clarity and the sublime while on a recent visual assigment to a sublime site. View the compressed wabi-sabi voodle footage from an interior space by cliking on the icon above. [patafilm # 861, 03'12'', 46MB, Qicktime/mov - other versions at Blip.tv)

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Saturday, December 28, 2013

Against forgetfulness: yet another compilation



 "Brown, thick curtains: it's best when they're drawn in towards the middle, the middle of the window, a small opening in the middle, a narrow strip of light, a September-strip or an April gash, as when you plunge a knife into trouser material and rip."..."Everyday tasks: wearing yourself out trying to find something new, a new word, a new sentence, a new book."..."Why travel? Why not just stay at home, in your room, in your house, in the place you like better than any other, your own place. The familiar house, the requisite rooms in which we have gathered the things we need, a good bed, a desk, a whole pile of books."

Paraphrasing Tomas Espedal, thoughts reawaken and lose their dullness, it's a thoroughly physical experience, my thoughts brighten, and I start compiling vines again, lighter this time, up towards the fjord, the cities centre(s) and al the many bouts of flying in (or out). Slowly it dawns on me, I am happy because I am Vining; Before that I used to Voodle around, and some few would watch. These days even less do. Yet it does fullfil my sense of diary, my duty of visual naration(s), my obsessive compulsion, also this year.
With all the best wishes for a happy new year to all patalab viewers, yours  sincerely, SamR.

(vinecompilation # 4 (winter), 15'32'', 273 MB, Quicktime/mov; mpg4 version at Bliptv)

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Tuesday, October 29, 2013

On momentary pop_up(s)

"After their first brief, yet inspiring encounter in 2011 at the Australian festival Dance Massive, the artists Luke George (AU), Miguel Gutierrez (US), Heine Avdal (NO) and Yukiko Shinozaki (JP) meet again at the Meteor 2013 festival in Bergen (NO). The artists will follow the festival day by day, and prepare the public some short and unannounced performative appetizers or digestives. Watch your back!" 
Just passing by, anyway, Sam Renseiw manages, nevertheless, to capture some re-located, (quite) interactive  visual spoken word field_works by Heine and Yukiko, just to exist again, in best angelus modus. [patafilm # 860, 02'58'', 55MB, Quicktime/mov- Bliptv version here)

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Thursday, October 03, 2013

Are we not drawn onward to new era ?



 1/ "A man, a plan, a canoe, pasta, hero's, rajahs, a coloratura, maps, snipe, percale, macaroni, a gag, a banana bag, a tan, a tag, a banana bag again (or a camel), a crepe, pins, spam, a rut, a Rolo, cash, a jar, sore hats, a peon, a canal - Panama! "

2/ "His flack: late no-no's, tits, a cow. Two-cow, to tenor of God! A sin is a sign, ignoble udder-cases! La femme fatale gnawed at a phone-post, also lost call, eh? She'll act solo, slats open. Oh, pat a dew-angel at a femme false. Sacred duel, bonging is a sin; is a dog? For one to two-cow two, cast it so none talk calfs!"


Dabbling in palindromic unrest these days, Sam Renseiw concotted a short palindromic voodle (from a somewhat recent, yet allready bygone spring's phonefootage batch). View the pull by clicking on the image above, or view .m4v version via blip.tv here. [patafilm # 859, "forward anomyn", 03'10'', 46MB, Quicktime/mov)

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