On figure-ground perceptions

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" And the music itself was wonderful. At first it struck me as exaggerated, artificial, even incomprehensible. Little by little, though, with repeated listenings, a vague image formed in my mind--an image that had meaning. When I closed my eyes and concentrated, the music came to me as a series of whirlpools. One whirlpool would form, and out of it another would take shape. And the second whirlpool would connect up with a third. Those whirlpools, I realize now, had a conceptual, abstract quality to them ... With ears perked up and eyes closed, I imagined the existence of a certain place. This place I imagined was still incomplete. It was misty, indistinct, its outlines vague. Yet I was sure that something absolutely vital lay waiting for me there.."

While paraphrasing Murakami (again) Sam Renseiw, slowly shifting gear from splintered, stressfully decontructed workpatterns to (hopefuly) more friendly, northbound comming environments, composed a simple aller-retour-voodle from slightly older footage. View the figure-ground slide by clicking here or on the links above.(patafilm # 788, 02'15'', 27.5MB, Quicktime/mov -other versions at Bliptv)

Today's Bonus Lumiere Video is a very straight forward illumination. [Lum # 281, "candela" , 01'00'', Quicktime/mov)

On phenomenology of time in voodles

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" The phenomenological idealist believes that the scientific realm no less than the manifest realm (the "life-world") is projected by or essentially dependent upon man. The realm of scientific entities is nothing real in itself but is a mere "theoretical construct" that is fashioned from the materials in the manifest realm, such that the latter realm is the foundation of the former. Accordingly, scientific time is not only as human-dependent and human-relative as manifest time, but is an abstract construct fashioned from the latter time. Given this, the phrase, "time as it really is" is more suitably applied to the original phenomenologically manifest time than to the derivative time of the sciences. It follows that time as it really is[voodle] A-dimensional, inasmuch as manifest time is A-dimensional, and the [voodle] B-theory accordingly is false or at least restricted to an abstract scientific image of real time."

Somehow still maintaining the validity of parts of the [voodle] B-theory, Sam Renseiw postulates that what we are measuring, when we measure the duration of an event or interval of time, is in the voodle. From this he derives the radical conclusion that past and future exist only in a voodle. View the long-take demonstration the subject's subtleties by clicking here or on the links above. patafilm # 781, 03'28'', 50MB, Quicktime/mov - other versions at Bliptv)

On beginning(s) as revenant

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"[A spacious garden-room, with one door to the left, and two doors to the right. In the middle of the room a round table, with chairs about it. On the table lie books, periodicals, and newspapers. In the foreground to the left a window, and by it a small sofa, with a worktable in front of it. In the background, the room is continued into a somewhat narrowerconservatory, the walls of which are formed by large panes of glass. In the right-hand wall of the conservatory is a door leading down into the garden. Through the glass wall a gloomy fjord landscape is faintly visible, veiled by steady rain.]"

Upon beginning the first act in a series of repeated Nordic displacement(s), Sam Renseiw, having some slight deja-vue(s) from Ibsen, concocted an appropriate ghost-voodle from footage on the premisses. View the investigation into space(s) and body morphologies by clicking here or on the links above. (patafilm # 786, 03'18'', 49MB, Quicktime/mov - other versions at Bliptv)

Today's Bonus Lumiere Video, supplementing the above voodle, presents a fine fjord landscape with moving, urban elements (Lum # 281 "chop & cruise", 00'56'', 10MB Quicktime/mov)

On [almost] inhabiting the Dolphin Hotel

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" Whatever it is one is seeking won't come in the form one is expecting...Thus I (also) often dream about the Dolphin Hotel. In these dreams, I'm there, implicated in some kind of ongoing circumstance. All indications are that I belong to this dream continuity....It seems more like a long, covered bridge. A bridge stretching endlessly through time. And there I am, in the middle of it. Someone else is there too...Time weighs down on me like an old, ambiguous dream. I keep on moving, trying to sleep through it... Another possibility is just plain voodling. Voodling on and on. Entering the world of voodles and never coming out. Living in voodles for the rest of time...."

Paraphrasing Murakami's dance steps and while taking the Possibility of an Island as just that, Sam Renseiw recalls a recent trip to Fionia by concocting footage left-over into a parabolic space, in triptych form. View yet another voodle-detournement exploring (again) morphologies of body and space by clicking here or on the links above.(patafilm # 784,02'35'',37Mb, Quikctime/mov - other versions at Bliptv)

Today's Bonus Lumiere Video feature a fine Danish shoreline, secured for bathers. [Lum # 280, "ishøj beach" 01'00'', 12Mb, Quictkime/mov)

On mapping inter-locked spaces

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"The voodler is a forger/He forges so thoroughly/That he even forges the pain/He really feels as pain//Those who watch what he voodles/Feel truly, seeing pain,/Not the two he had, but only/The one they do not have//And thus along the rails,/To stall the reason/Runs that wind-up train/They call the heart."

After a week-end filled with a multitpude of collected footage bits from highly active active procrastination, Sam Renseiw, overwhelmed yet serene, concocted a longer disquiet-docu-voodle for this post. View the montage with subtle acupunctural inserts from: Room 100, Circuits Fermés and Somewhere/Nowhere by clicking here or on the links above.(patafilm # 785, 04'35'',67MB,Quicktime/mov- other veriosn at Bliptv)

On memory as place and interior journeys

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" Memory as a place, as a building, as a sequence of columns, cornices, porticoes, rooms enfilade. The body inside the mind, as if we were moving around in there, going from one place to the next [..] To realise that one's steps, by taking one nowhere, are taking one nowhere but into oneself...What we are really doing when we submerge in a voodle is thinking, and thinking in such a way that our thoughts (re)compose a journey.[..] and even if we do not leave our room, it has been a journey, and we might safely say that we have been somewhere, even if we don't know where it is."

After recently having [casually] passed through an animated series of didactic spaces, Sam Renseiw attempted to reconstruct bits of hastily recorded footage into another tale, altogether. View voodled concoction by clicking here or on the links above. (patafilm # 783,03'44'' 49MB,Quicktime/mov - other versions at Bliptv)

On the infinity of polka-doted universes

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" A polka-dot has the form of the sun, which is a symbol of the energy of the whole world and our living life, and also the form of the moon, which is calm. Round, soft, colourful, senseless and unknowing. Polka-dots can't stay alone; like the communicative life of people, two or three polka-dots become movement... Polka-dots are a way to infinity."

This particular voodle is both generic and specific in its nature: the magnificence of Yayoi Kusama's installation will permit any fool to record intriguing imagery. Thus, this voodle is concocted with special emphasis on (added) sound correlations with impression from her internal, seemingly infinite, space installation; Yet another attempt at describing bits of a morphology of body and space. View Sam Renseiw's internalized, murky cameo appearance in a fine moment of Gleaming Light of the Souls by clicking here or on the links above. (patafilm # 782, 02'18'', 26.3MB Quicktime/mov - other versions at Bliptv)

Today's Bonus Lumiere Video features a multi-screen, art[voyeur]experience. (Lum # 279, "take care of yourself", 01'00'', 12MB, Quicktime/mov)