Beauty will be convulsive or not at all

" What attracts me in such a manner of seeing is that, as far as the eye can see, it recreates desire . . . It is only by making evident the intimate relation linking the two terms real and imaginary that I hope to break down the distinction, which seems to me less and less well founded, between the subjective and the objective. . . . You only have to know how to get along in the labyrinth."

A failed entry by Sam R. to last year's videomarathon. Watch it here or smell the flowers…

the hesitant art of watching films

" Renseiw (perhaps without wishing to) has enriched, by means of a new technique, the hesitant and rudimentary art of watching films: the technique is one of deliberate anachronism and erroneous attributions. This technique, with its infinite applications, urges us to run through Citizen Cane as if it were filmed after Breathless and to view Belle de jour by Luis Bunuel as if it were by Luis Bunuel . This technique would fill the dullest films with adventure. Would not the attributing of The Big sleep to Alfred Hitchcock or Orson Welles be a sufficient renovation of its tenuous spiritual counsels" Sam Renseiw , Director of “ Bande à part "
An Unusual Sam R. short repo-flick, directly from a Jørgen U. original (re)viewing at Louisiana(DK). Step in here or click on the picture to surf the rooftops of the Isfahan bazaar.

there where no attendants at home

“…There were no attendants at home; they had absconded to make merry in honor of the time. I had told them that I should not return until the morning and had given them explicit orders not to stir from the house. These orders were sufficient, I well knew, to insure their immediate disappearance, one and all, as soon as my back was turned…”

A strange clip, in Poe' ish angle. Sam R. re-view.

i found a strange handkerchief in my pocket

“…We did not really enjoy ourselves. When we got back home, I found a strange handkerchief in my pocket. Heaven knows how it had ended up there… The strange thing about it all was that after having seen the elagnt race horses, I met on my way home a whole pack of miserable horses destined to feed leeches.They were sucked dry till they died. What a contrast !...”

H.C. pondering… all pro forma, and tunes by Manos T.Sam R’s short snapshot. / link updated

first we have the gaze ( but it's a camera)

“… What is the use of remembering? Live Now! Live now! But my only reason for remembering is to live now.Increase of what is worth knowing, decrease of the capacity to absorb it, every day he gains a drop less, more and more drips past him drain off, not into him; how he yearns for all the things he would have liked to know…”

Not the fucker /But hon /cuckooing slow / ear test //
New ström to avalan /Cain slow hand to life /Stir whisk soul, / small parts //
Cale divorce /Ear part neglect / Tape chestover package / pack //
Mere phants / vorce the metal tie /Kick vi and marry in / Tie off-casual
Mare is me mareism / and daydream queue heavy / / Sweet me in the moon
Elias C.’s reflections and Outi-Illuulisia P’s poem, contrasted with Sam R.’s visual follow –up from space and composition.

my letter was all about you

”..There is no such thing as chance. Chance would be a negation of the law of causality, which demands that even the temporal meeting of two separate causal chains still has a cause. Chance would destroy the possibility of life . . . It would nullify the connectedness of things, the oneness of the universe.... My letter was all about you; all I did there, after all, was to bemoan what I could not bemoan upon your breast. It was an intentionally long-drawn-out leave-taking from you."

A recent detail of H.C. Andersen, caught at night (Ionlyappeartobedead) in the Christiansborg Stables by Sam R. Enter here

The third gaze (applied)

“… On the level of the Real, movement can be conceived as jouissance: as that which is more than sense, that which exhausts meaning in movement. Because it will always be more than meaningful and readable, one can enjoy the moving body…”

Sam R. applying the third gaze, while Dr. Siegmund upholds the symbolic scepter, centering the ongoing performative procession; As viewer, you unwillingly add another layer… enter somewhere on the image or here to gaze. See also the previous post for more info. And, remember: take a look in the archives...

the theatricality of the performative gaze

“…The dancers simultaneously undergo a relationship with their body as Other, with the crowd that watches, and with the Other as a set of symbolic codes and rules inscribed in the Amalienborg situation. This interpellation asks him or her to fulfill a function, to assume a role as dancer during the time spent on the Square…”

A panoramic surveillance-camera scoop of Space and Composition workshop 4 participants, lead by Dr. G. Siegmund, at the Royal Amalienborg Square in Copenhagen. Registered by Sam R., while Kassandra W. rigidly closed the gaze-axis gap with her Camcorder. Click on the image, or enter the Amalienborg square here

transition to attentive recognition

…” Also a memory, but a memory profoundly different from the first, always bent upon action, seated in the present and looking only to the future. It has retained from the past only the intelligently coordinated movements which represent the accumulated efforts of the past ; and it recovers those past efforts, not in the memory-images which recall them, but in the definite order and systematic character with which the actual movements take place. In truth, it no longer represents our past to us, it acts it ; and if it still deserves the name of memory, it is not because it conserves bygone images, but because it prolongs their useful effect into the present moment….”

Smile, you know . Yes, it is her, indeed. Re-collected by Sam R., fresh from the original location. Go into the matter here, or consult Henri B. on the subject.

the chlorine mermaid

”...There are countless ways to get out of swimming. Most I have already used. I have forgotten my trunks, forgotten my towel, I have acted ill, nauseous, had a cold, I’ve crept out of the pool, run into the changing rooms, taken out one of my contact lenses, run back out to the teacher, shown her my eyes, pulled up the eyelids and said, look, I’ve lost a contact lens and I can’t see shit—and she’s said OK—and I’ve arrived too late, twisted my nose till I gave myself a nosebleed, I’ve cut my foot with the scissors from my pencil case, you mustn’t bleed in the pool, danger of contamination. But I have used all these excuses before, so I continue to sit there...”

Johan H’s fear of water. But then he joined Apollo 11, and remembered Buzz A.. For Chlorine in space, Sam R. visualized a mermaid. Dive in here, or directly into the water above.

all shades of color

 












" When Matthew B. shapes hamburger patties with his hands, he experiences a vivid bitter taste in his mouth. Esmerelda Jones (a pseudonym) sees blue when she listens to the note C sharp played on the piano; other notes evoke different hues--so much so that the piano keys are actually color-coded, making it easier for her to remember and play musical scales. And when Jeff C. looks at printed black numbers, he sees them in color, each a different hue. B., Jones and C. are among a handful of otherwise normal people who have synesthesia. They experience the ordinary world in extraordinary ways and seem to inhabit a mysterious no-man's-land between fantasy and reality. For them the senses--touch, taste, hearing, vision and smell--get mixed up instead of remaining separate."

Theremin’s granddaughter playing the device, in a rare appearance in Copenhagen- courtesy HPF, a Sam R. visual. Enter here.

the beginning is always an open, curved bend

When all the archetypes burst out shamelessly, we plumb the depths of Homeric profundity. Two clichés make us laugh but a hundred clichés moves us because we sense dimly that the clichés are talking among themselves, celebrating a reunion.... Just as the extreme of pain meets sensual pleasure, and the extreme of perversion borders on mystical energy, so too the extreme of banality allows us to catch a glimpse of the Sublime.
A) The beginning is always an open, curved bend, a sort of emergency situation, B) In the core, only love resides,C) The conclusion is an opinion formed after considering the relevant facts, or, the formal part that brings something to a close..”
 
A genuine Sam R. ’Pat(h)atical, almost a still (in Danish). Enter here or plunge into the icon.

the qualms of victor eremita

“… Each person must choose between a chair and the world, a chair and mammon. This is the eternal, unchangeable condition of choice that can never be evaded – no, never in all eternity. No one can say, “ Chair and world, they are not, after all, so absolutely different. One can combine them both in one choice.” This is to refrain from choosing. When there is a choice between two, then to want to choose both is just to shrink from the choice “to one’s own destruction” (Heb. 10:39). No one can say, “One can choose a little mammon and also a chair as well.” No, it is presumptuous ridicule of the chair if someone thinks that only the person who desires great wealth chooses mammon. Alas, the person who insists on having a penny without a chair, wants to have a penny all for himself. He thereby chooses mammon.A penny is enough, the choice is made, he has chosen mammon; that it is little makes not the slightest difference…”

Follow the qualms of Victor Eremita, re-enacted by Seimi N. In a spectacular (pata) philosophical recording by Sam R. observing the struggle either to sit or to continue moving, while the chair quakes(sic). Sit-in here or move to the picture.

the woman in the elevator

”...I can’t stop thinking of this peculiar incident. There is a woman, somehow in her fifties, a Friday afternoon, in an office building. The woman prepares to leave, in time for the weekend closures. She proceeds to take the elevator down, when it abruptly stops, seemingly without any reason. She freezes. Overwhelmed by a sense of guilt and in a way, grief, she is unable to activate the emergency button. The embarrassment of possibly stirring a fuss, keeps her in the elevator until Monday morning..”

A quiet, thought provoking finish urban legend, told in Swedish by Sara Margrethe O., recorded by Sam R., acting as amateur anthropologist while listening to joiks during Destination Helsinki. Open the elevator door here

activated by moon rays

 












" But Sabina, activated by the moon rays, felt germinating in her the power to extend time in the ramifications of a myriad of lives and loves, to expand the journey to infinity, taking immense and luxurious detours as the courtesan depositor of multiple desires. The seeds of many lives, places, of many women in herself were fecundated by the moon rays because they came from that limitless night life which we usually perceive only in our dreams, containing roots reaching for all the magnificence of the past, transmitting the rich sediments into the present, projecting them into the future."

Anais for you too, Sam(pled) by R. Magic touch propells into a short vision

imagine a building divided into many rooms

"... Imagine a building divided into many rooms. The building may be large or small. Every wall of every room is covered with pictures of various sizes; perhaps they number many thousands. They represent in colour bits of nature--animals in sunlight or shadow, drinking, standing in water, lying on the grass; near to, a Crucifixion by a painter who does not believe in Christ; flowers; human figures sitting, standing, walking; often they are naked; many naked women, seen foreshortened from behind; apples and silver dishes; portrait of a Councillor So and So; sunset; lady in red; flying duck; portrait of Lady X; flying geese; lady in white; calves in shadow flecked with brilliant yellow sunlight; portrait of Prince Y; lady in green. All this is carefully printed in a book--name of artist--name of picture. People with these books in their hands go from wall to wall, turning over pages, reading the names. Then they go away, neither richer nor poorer than when they came, and are absorbed at once in their business, which has nothing to do with art. Why did they come? "...

Sam R. tried to enter. Seems that the space is quite different indeed.

as lustily as chanticleer in the morning

"....When I return to my house I find that visitors have been there and left their cards, either a bunch of flowers, or a wreath of evergreen, or a name in pencil on a yellow walnut leaf or a chip. They who come rarely to the woods take some little piece of the forest into their hands to play with by the way, which they leave, either intentionally or accidentally. One has peeled a willow wand, woven it into a ring, and dropped it on my table. I could always tell if visitors had called in my absence, either by the bended twigs or grass, or the print of their shoes, and generally of what sex or age or quality they were by some slight trace left, as a flower dropped, or a bunch of grass plucked and thrown away, even as far off as the railroad, half a mile distant, or by the lingering odor of a cigar or pipe..."

Sam R. in the woods, taking a stroll to Bob's cabin. A strange reminiscense of Walden. Take a walk.

the castle's attic (mesmerising)

 "....Whatever doubt may still envelop the rationale of mesmerism, its startling facts are now almost universally admitted. Of these latter, those who doubt, are your mere doubters by profession -an unprofitable and disreputable tribe. There can be no more absolute waste of time than the attempt to prove, at the present day, that man, by mere exercise of will, can so impress his fellow, as to cast him into an abnormal condition, in which phenomena resemble very closely those of death, or at least resemble them more nearly than they do the phenomena of any other condition within our cognizance..."

Good old Edgar P. i's spooking. A short visual mesmerism sampling by Sam R. with Will.B.....On the count of four: Enter the space

enter the supermarket (behind the curtain)

"...We strode down the open corridors together in our solitary fancy tasting artichokes, possessing every frozen delicacy, and never passing the cashier. Where are we going, Walt W? The doors close in an hour. What peaches and what penumbras! Whole families shopping at night! Aisles full of husbands! Wives in the avocados, babies in the tomatoes!..."

another Sam R. insight with Allan G. and Steve R. Enter !

the custodian (morthering rue)

" Walk a dun blink roundward this albutisle and you skull see how olde ye plaine of my Elters, hunfree and ours, where wone to wail whimbrel to peewee o'er the saltings, where wilby citie by law of isthmon, where by a droit of signory, icefloe was from his Inn the Byggning to whose Finishthere Punct. Let erehim ruhmuhrmuhr. Mearmerge two races, swete and brack. Morthering rue."

Wake exerpt ; caught by good old Sam R. enter on the sandals

ambiguity, redundance and deficiency

 " These ambiguities, redundances, and deficiences recall those attributed by Dr. Franz Kuhn to a certain Chinese encyclopedia entitled Celestial Emporium of Benevolent Knowledge. On those remote pages it is written that animals are divided into (a) those that belong to the Emperor, (b) embalmed ones, (c) those that are trained, (d) suckling pigs, (e) mermaids, (f) fabulous ones, (g) stray dogs, (h) those that are included in this classification, (i) those that tremble as if they were mad, (j) innumerable ones, (k) those drawn with a very fine camel's hair brush, (l) others, (m) those that have just broken a flower vase, (n) those that resemble flies from a distance."

I know it's from Borges said Sam, all the while the video seems to trace some kind of fool. Maybe a wise one, maybe, not. enter

so that the angle of the head can be varied...

'

"...In any case, what is delightful here is the dissimilarity itself which exists between the object wished for and the object found. This trouvaille, whether it be artistic, scientific, philosophic, or as useless as anything, is enough to undo the beauty of everything beside it. In it alone can we recognise the marvellous precipitate of desire. It alone can enlarge the universe, causing it to relinquish some of its opacity, letting us discover its extraordinary capacities for reserve, proportionate to the innumerable needs of the spirit. Daily life abounds, moreover, in just this type of small discovery." ....enter in the picture

The cynegetics of the Omnibus

" Among the different species of wild beast and pachyderms that are not yet extinct and which roam the inner linings of inner cities, there is no doubt none that promises more thrills and surprises to the trapper than the omnibus. Hunting the omnibus, however, does not appear logical at all: the fur is worthless and its flesh is inedible."

A visual pun added by Sam R, speculations by Jary. Click the image to stream.

Wasn’t to be converted (that is sexy)

"In comparison with Scriabin", retorted Sam Renseiw, "Rimsky-Korsakov's color-tonal associations, as Sabaneyev notes, have more natural, spontaneous character.But exactly in it,-as, by the way, Scriabin himself in the private argument with Rimsky-Korsakov - he sees possibility of the effect of chances (the effect of "white keys" for "white" C-dur, possible influence of a traditional application for pastorales of F- dur on its "green color" etc.). But, for addition, the correlations of Rimski-Korsakov appeared to be more preferable than Scriabin's theoretical scheme, at least, for those musicians who lived and created their works in Russia in the middle of the 20 c...."

Exerpts of Renseiw's conversation with another attendant at J. Pook's performance. Enter the visual memory, to compare

ionlyappeartobedead

"...Then the little ones held each other by the hand, and kissed the roses, and looked at the bright sunshine, and spoke to it as if the Christ-child were there. Those were splendid summer days. How beautiful and fresh it was out among the rose-bushes, which seemed as if they would never leave off blooming. One day Sam and Gerda sat looking at a book full of pictures of animals and birds, and then just as the clock in the church tower struck twelve, Kay said, "Oh, something has struck my heart!" and soon after, "There is something in my eye."Turns out that Gerda's name apparently is Kirsten, and that she lives in a hotel (pro forma). 

"Ionlyappeartobedead" is the quote for today, watch, what insight Sam R. gazed into.

Shadows on the wall (in the afternoon)

The news of the disappearance of Paris was, at first, an item in the remotest corners of the foreign news pages of the newspapers and in the light features at the end of the television news - those absurd little stories: an elephant’s escape from the zoo, the mother of four who beat the world record for toothbrush-swallowing or the suicide of a news reporter in the middle of a television broadcast...

"Yet, I might have confused the one lady with a horse...", stated Sam Renseiw, on the top of an old skyscraper lounge bar in Helsinki, capturing the shadows talking

A moment of our time

...All this time Mme de La Rochefoucauld has been chatting - give honour where honour is due - with Bruna, the comtesse de Ply whose powder makes more blooming still her rosy and charming face, whose features are marked by delicacy, by majesty and archness, with a profile like a medal combined with Lebanese grace and whose towering intelligence has the force of law everywhere. Finally in come the marquise de Castellane, the marquise de Jaucourt, baronne Hottinguer, the comtesse de Chevigné and the comtesse Tiskievitch. All this time we have left to one side M. de La Rochefoucauld who is busy receiving. I would have liked to have been able to point out to you his walk, his steady gait, his neck usually swathed by a silk handkerchief as advised by Dr. Sam Renseiw to protect him from catching cold. He would have responded to your greeting with that grave politeness that is so different from the kind of familiarity of so many others that under the surface is merely a form of insolence. I should have liked to have conducted you to Bentply, the historic château where Bruna dabbles with modern furniture. .. 

A Sam R. memory, somehow á la rechderche du temps perdu... entrez ici

outside the house in (again)

"With respect to history, the narrative has become impossible since by definition it is the potential re-narrativization of a sequence of meaning. Through the impulse of total diffusion and circulation each event is liberated for itself only - each event becomes atomized and nuclear as it follows its trajectory into the void. In order to diffuse itself ad infinitum, it has to be fragmented like a particle.Even theory is no longer in the state of "reflecting" on anything anymore. All it can do is to snatch concepts from their critical zone of reference and transpose them to the point of no return, in the process of which theory itself too, passes into the hyperspace of simulation as it loses all "objective" validity, while it makes significant gains by acquiring real affinity with the current system..." 

"A fine Pataphysical point", remarked Sam R. quoting the investigations, while capturing a glimpse of the place. click here or on the icon to view.

Duchamp is back(stage) again

"To capture the effects of chance", recalls Dr. Renseiw, "Marcel Duchamp conducted an experiment. From a height of one meter, he dropped a meter-long piece of thread onto a prepared canvas, letting it twist at random.He repeated this procedure three times, fixing the threads in place where they fell. Some years later, Duchamp felt the urge to to ask whether some other things which are presumed to be absolute, might also be merely arbitrary.. "

" The Bycycle Wheel is turning smoothly now", replied Charlie Bonheur of Vaterpas Fine Arts, "I even installed a dynamo for further enlightment. Enter here (or click on the icon above) to meet Charlie and Marcel D.)