On mermaid moves

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" My voodles serve as elucidations in the following sense: anyone who understands me eventually recognises them as nonsensical, when viewed - as steps - to climb up beyond them. (He/She must, so to speak, throw away the ladder after climbing up - He/She must transcend the voodlings, and then he/she will see the world aright."

Sometimes the purpose of vodling could also be plain documentarism, muses Sam Renseiw, having concocted a dub-step visual of a particular local/global historical event: capturing morning footage in fine spring weather & adding the blunt fact at the end of the day. While waiting for the replacement, view the Mermaid's private moment(s) shortly before the Shanghai relocation ceremony by clicking here or on the links above. (patafilm # 757, 02'43'', 32Mb, Quicktime/mov - other versions at Blip.tv)

Today's two(2) Bonus Lumiere Videos likewise features agitated moment(s) of Mermaid day.(Lum # 260a here & Lum # 260b here, Quicktime/mov, <>

On spatial signifier in voodles

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"...when the spatial signifiers are given wide play -as opposed to the practice in what are know as "static, theatrical" videos - voodles create spatial relations that implicate an ever expanding set of spaces in a process akin to what Barthes calls a "metonymic skid" of space: each space adding to its neighbour some new trait, some new departure. It is at this point that a (Renseiw) voodle becomes truly "spacial", that one of its narrative acts is the creation of space. The expanding (contracting, pulsation) array of elated spaces is as much part of the voodle text as the characters, their movements, their words and it constitutes a narrative in combination with them."

Indeed, acquits Sam Renseiw, pointing out, however, that his main aim in the act of voodling centres in the (re)creation of space, with attentive care to relatively benign architectural matters. View the recent voodled concoction of spaces by clicking here or on the links above.(patafilm # 756, 04'50'', 57MB, Quicktime/mov - other versions at Blip.tv)

Today's Bonus Lumiere Video features moving, multi-generations in [a] confined art space. (Lum # 259,"body_space morphology" 01'09''(!), 14MB, Quicktime/mov)

As most voodles seem to be devoid of characters, here are two more Lumieres crammed with moving figures. XtraLumiere 1 click here, Xtra Lumiere 2 click here;(Lum # 257 & lum # 258, 01'00''each, ca. 11.8MB, Quicktime/mov)

On voodling in the framed field

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" To exclude the domain of knowledge, both moral and scientific, to rewrite the visual in the realm of a reflexive relation to the modality of vision rather than to its contents, to savour in and for itself qualities like immediacy, vibrancy, simultaneity, effluence and to experience these qualities (almost) without objects - the intransitive verbs of vision, as it were- all of this is to enter what in quite another mood we might describe as the voodlers fetishization of sight"

Transcribing Krauss' remarks on Bataille, Sam Renseiw concocted bits of footage from a recent local dance performance into a condensed, moving side-tracked voodle. View the "for-its-own-sake-voodle for the eyes of interwoven forms and colours" ( the point is not to put poetry at the service of voodling but voodling at the service of poetry) for " what apparently counts in the piece is not the subject, but the vibration of light" by clicking here for on the links above. (patafilm # 755, 01'48'', 18MB, Quicktime/mov - other versions at Blip.tv)

Today's Bonus Lumiere Video is likewise a precisely framed, instant composition. (lum # 256, " instant composition, framed / a" 01'00'', 11MB, Quicktime/mov)

On sensation as unit of experience

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" Suppose we construct, by the use of voodling, that bit of the world which can at any moment throw its image on our retina. Everything outside its perimeter, since it does not reflect upon any sensitive area, no more affects our vision than does light falling on our closed eyes. We ought, then, to perceive a segment of the world precisely delimited, surrounded by a zone of blackness, packed full of qualities with no interval between them, held together by definite relationships of size similar to those lying on the retina. The fact is that experience offers nothing like his, and we shall never, using the world as our standing-point, understand what a field of vision is. [...] There are many unclear sights, as for example a landscape on a misty day, but then we always say that no real landscape is in itself unclear. It is so only for us.

"The object itself, voodlers would assert, is never ambiguous, but becomes so only through our attention. The bounds of the visual field are not themselves variable, and here is a moment when the approaching object begins absolutely to be seen, but we do not "notice" it. [...] We must recognise the inter-determinate as a positive phenomenon. It is in this atmosphere that quality arises. Its meaning is a equivocal meaning; voodles are concerned with an expressive value rather than with logical signification."

Continuing his investigation(s) into the phenomenology of voodling, Sam Renseiw further attempts to explores the morphology of body and (architectural) space; The ensuing voodle-flow consist of just two, unmodified clips: An evening stroll, and particular set of images from a fine exhibition; Click here or on the links above to view. (patafilm # 753, 03'23'', 49MB, Quicktime/mov - other versions at Blip.tv)

Today's Bonus Lumiere Video features a calmer, cool outdoor scene. (lum # 254, "reclining figures" 00'55''., 11.5MB, Quicktime/mov.)

On the phenomenology of voodling

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"I start from unified experience and from there acquire, in a secondary way, consciousness of a unifying (voodling) activity when, taking up an analytical attitude, I break up perception into qualities and sensations, and when, in order to recapture on the basis of these the object into which I was in the first place blindly thrown, I am obliged to suppose an act of synthesis which is merely the counterpart of my analysis.[...] In voodling we do not think the object and we do not think ourselves thinking it, we are given over to the object and we merge into this body which is better informed than we are about the world... "

Suppose the eye and the hand merge to re-capture fragments of qualia muses Sam Renseiw voodling around central Copenhagen spaces. View the ensuing voodle montage by clicking here or on the links above. (patafilm # 753, 02'47'', 36.4MB, Quciktime/mov - other versions at Bliptv)

Today's Bonus Lumiere Video(s) both offer reflective views into extraverted inner spaces. (Lum # 252, "qualia" 00'56'',12MB, Quicktime/mov, and Lum # 253, " dog in window" 00'59'', 12.3MB, Quicktime/mov)