spacetwo : patalab

On key discoveries in dance voodles

2012-01-07T17:48:00.009+01:00

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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

2011-12-31T04:39:00.003+01:00

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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

2011-12-15T12:07:00.005+01:00

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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

2011-11-26T21:57:00.010+01:00

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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

2011-10-29T16:44:00.006+02:00

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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

2011-10-20T16:17:00.004+02:00

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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

2011-10-15T22:41:00.004+02:00

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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

2011-10-06T17:18:00.007+02:00

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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

2011-09-29T10:14:00.004+02:00

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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

2011-09-27T13:26:00.006+02:00

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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

2011-09-18T16:34:00.002+02:00

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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

2011-09-09T19:46:00.003+02:00

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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

2011-08-27T22:48:00.006+02:00

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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

2011-08-21T19:01:00.008+02:00

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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

2011-08-12T16:33:00.005+02:00

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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

2011-08-07T22:45:00.004+02:00

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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

2011-07-12T09:59:00.003+02:00

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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

2011-06-21T22:31:00.004+02:00

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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

2011-06-07T13:18:00.005+02:00

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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)

2011-06-02T22:08:00.003+02:00

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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

2011-05-21T13:53:00.004+02:00

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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

2011-05-17T19:34:00.006+02:00

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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

2011-04-23T19:38:00.004+02:00

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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

2011-04-10T13:43:00.007+02:00

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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

2011-04-02T22:12:00.006+02:00

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" 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)

On meta-voodle & ethos_thanatos reflections

2011-03-26T17:59:00.009+01:00

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"States of schizophrenia are native to meta_voodle’s present-absence, its not quite-existence, its fictionalization of truth and its verification of illusion. For Kant, “This fundamental principle of the necessary unity of apperception is indeed an identical, and therefore analytical proposition; but it nevertheless explains the necessity for a synthesis of the manifold given in an intuition, without which the identity of self-consciousness would be incogitable”. Now, self-consciousness is indeed “cogitable,” but is it necessary? The axiom that communication is human may lead to individual human communicators, but it need not, since selfhood is a derivative of communication, a special effect of a particular historical mode of communication. Since self-consciousness is no longer a given but an effect, synthesizing the myriad sensations that crowd upon us into recognizable identities is also in question. I am thus never sure whether what I perceive is raw phenomenality, abstract identity, or synthetic truth."

Indeed, muses Sam Renseiw, paraphrasing from cinema effect, while capturing (pure meta-meta-voodling!) reflective dance footage produced by the local Bergen triad: Eckly, Spreafico and Cohen. View excerpted kill me baby one more time footage and other short non-carte blanche moves by clicking here or on the links above.(patafilm # 816, 05'22'',117MB, Quicktime/mov - other versions at Blip.tv)

Today's Bonus Lumiere Video features another short dance excerpt also in meta-lumiere.(lum # 307 "meta-dance-voodle", 01'00, 17MB, Quicktime/mov)

On re-collecting and other moves

2011-03-23T21:41:00.006+01:00

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“ Reminiscences, even extensive ones, do not always amount to an autobiography. For autobiography has to do with time, with sequence and what makes up the continuous flow of life. Here, I am talking of a space, of moments and discontinuities. For even if minutes and quarter-hours appear here, it is in the form they have in the moment of recollection. This strange voodle form -- it may be called fleeting or eternal -- is in neither case the stuff that life is made of: it is but a short, captured moment, shared by two individual who witnessed its contours, in situ…"

During a recent, short week-end in Paris, Sam Renseiw re-collected, all the while re-miniscing, in memorable company. View a short docu-voodle diptych with glimpses of tables from Aux Fins Gourmets, Tintin's at Oiseau de Paradis and a side chamber in the Chateau de Vincennes donjon's second floor by clicking here or on the links above. (patafilm # 815,04'44'', 104MB, Quicktime/mov - other versions at Blip.tv)

Today's Bonus Lumiere Video features an ultra short moment of slow-motion in Rue Bellechasse. (Lum # 306,"slow-mo- duty-free", 00'31'', 17MB, Quicktime/mov)

On just passing by, voodling

2011-03-16T17:45:00.006+01:00

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"As a member of the crowd that populates the streets, the Voodler participates physically in the images that he observes while performing a transient and aloof autonomy with a "cool but curious eye" that studies the constantly changing spectacle that parades before him . As an observer, the Voodler exists as both "active and intellectual". As a literary device, one may understand him as a narrator who is fluent in the hieroglyphic vocabulary of visual culture. When he assumes the form of narrator, he plays both protagonist and audience--like a commentator who stands outside of the action, of whom only the viewer is aware, "float[ing] freely in the present tense".The Voodler has no specific relationship with any individual, yet he establishes a temporary, yet deeply empathetic and intimate relationship with all that he sees--an intimacy bordering on the conjugal--inserting a bit of himself into the margins of the image in which he is immersed, a voodle devised by selective disjunction."

Just passing by, Sam Renseiw floated freely in the present tense, in a peaceful moment, not yet overwhelmed by earthquakes, tsunamis and nuclear fall-out. Enjoy a poetic moment of quiet, elongated urban normality by clicking here or on the links above. (patafilm # 814,04'51'', 104Mb, Quicktime/mov - other versions at Bliptv)

Today's Bonus Lumiere Video features another quiet urban clichee scene, this time with reflections(and immersed voodler). (Lum # 305, 01'00, 17MB, Quicktime/mov)

On A Trip To Norway [music_voodle]

2011-02-21T16:33:00.005+01:00

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"A dutch family went to Norway in the seventies. Mom, dad, their daugther and some friends. The pictures made on that trip are the only ones left of the girl's youth. And now they (the pictures) are going to travel themselves. Back to Norway where they were made. Site specific projections will fill the walls…"

Just passing by in the last minute, Sam Renseiw managed to capture glimpses of Marike Pool's fine projections in the notorious aquarium in King Oscar's Lane, while musing over Bergson's dictum of "the pure present as an ungraspable advance of the past devouring the future… In truth all sensation is already memory." View the resulting short, montaged docu-voodle with distorted nostalgic soundtrack by clicking here or on the links above. (patafilm # 813, 01'35'', 36MB, Quicktime/mov - other versions at Bliptv)

Today's Bonus Lumiere Video features a marvellous, subdued, gridded sexandthecity scene at the Penguin's window.(lum# 304, 00'57'', 21MB, quicktime/mov)

On Philosophical Investigations in Voodles

2011-02-12T20:30:00.005+01:00

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" I contemplate a city at night, and then suddenly notice its likeness to another. I see that it has not changed; and yet I see it differently. I call this experience “noticing an aspect...” And I must distinguish between the ‘continuous seeing’ of an aspect and the ‘dawning’ of an aspect.... I see two pictures, with the chandelier-bunad surrounded by houses in one, by a multitude of buildings blocks and a bridge in the other. I do not notice that they are the same. Does it follow from this that I see something different in the two cases? It gives us a reason for using this expression here. “ I saw it quite differently, I should never have recognized it!” Now, that is an exclamation. And there is also a justification for it. I should never have thought of superimposing the chandelier-bunad like that, of making this comparison between them.... I describe the alteration (change of aspect) like a perception; quite as if the space had altered before my eyes.... The expression of a change of aspect is the expression of a new perception and at the same time of the perception’s being unchanged. I suddenly see the solution of a puzzle-picture."

When is an image just an image muses Sam Renseiw while contemplating a city scape from an inside, configuring a just-voodled-image into a broader investigation of body-space morphology. View the short reflective docu-voodle by clicking here or on the links above. (patafilm # 812,02'00'', 38MB, Quicktime/mov - other versions at blip.tv)

Today's Bonus Lumiere Video features an urban interior re-modeling-job at night. (lum # 303,"enclosed paint-job", 01'00'', 17MB, Quicktime/mov)

On signs and other epistemologies

2011-02-03T23:48:00.002+01:00

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"...The certainties of common sense and natural attitude to things... being the presupposed basis of any thought, they are taken for granted, and go unnoticed, and because in order to arouse them and bring them to view, we have to suspend for a moment our recognition of them.... We pass from double vision to the single object, not through an inspection of the mind, but when the two eyes cease to function each on its own account and are used as a single organ by one single gaze. It is not the epistemological subject who brings about the synthesis, but the body....We must not, therefore, wonder whether we really perceive a world, we must instead say: the world is what we (can) voodle."

Just splicing bits of accumultated footage together to fabricate a synthetic docu-voodle, Sam Renseiw paraphrases some surfacing Merleau-Ponty. View the ensuing cavalcade of compressed gaze with a camler ending by clicking here or on the links above. (patafilm # 811, 03'19'', 63MB, Quicktime/mov - other versions at Bliptv)

Today's Bonus Lumiere Video is (again) a moving stil. (Lum # 302,"smoke-window", 01'00'', 24 MB, Quicktime/mov)

On contemplative abstractions

2011-01-24T12:35:00.004+01:00

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"...I don't say that our isolation was meritorious, or that the people in general should know no language but their own. Yet the meek ignorance has these advantages. We did not travel for adventures, nor for company, but to voodle with our own eyes... and even in my own land, the things in which I have been least deceived are those which I have learned as their spectator..."

To paraphrase the topic further: ...Travel is thus not a release from but a luxuriating into the same rapt stare that is the medium of Sam Renseiw's daily life: And he glories in it, calling the style of voodling through foreign lands as a mode of " contemplative abstractions from the world"; Naturally, he has nothing but praise for the advantage of this abstraction. View a short montage bout of comtemplative abstraction by clicking here or on the links above. (patafil # 810, 03'13'', 68 MB, Quicktime/mov - other versions at Bliptv)

Today's Bonus Lumiere Video features yet another artful over-the-shoulder-repo-view.(Lum # 301, 01'00'', "watching pippilotti", 18MB, Quikctime/mov)

On open_form_voodling

2011-01-16T20:37:00.005+01:00

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"..It seems that, today - utilising the large output of the closed form, with the support of new ways of visual education, and with the new organisation of resources - right now we are able to begin the creation of a new organic art of our time, the Voodling art that is compositionally based on the open form. It will awake the desire of existence for every one of us, it will help us to define ourselves and find ourselves in the space and time in which we live. (This new art of Voodling) will become the space which suits our complex and yet not unexplored psyche, and it will become so because we will constitute the organic elements of this art. We will walk through it, and not around it. Diverse individuality, in all its randomness and bustling, will become the wealth of this space, its participant."

Reflecting on Oscar Hansen's dynamic manifesto, Sam Renseiw concocted an organic voodle from recent slices of footage, keeping the form open. As manifestos and creative environments have a certain tendency to stiffen into institutionalised dogma (as if obscured by clouds) when not shaken once in while, continued, genuine efforts to unclutter, are essential. View some otherwise visual-structured imagery by clicking here or on the links above. (patafilm # 809, 02'20'', 47MB, Quicktime/mov - other versions at bliptv)

Today's Bonus Lumiere Video features a reduced morphology of bodies in confined space-frame. (Lum # 300(!)," polka_dot_polka" 01'00'', 17 MB, Quicktime/mov) >Remenber to manufacture your own Lumieres! > see the fine Lumiere Manifesto.

On oblique displays of jungle

2011-01-11T21:16:00.005+01:00

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"...The voodle is also an allegory of the senses...I think that there’s almost no subject that you can’t treat with some humor, no matter how benign it can seem. What I also am sometimes looking for in my voodles is a sort of attraction-repulsion thing, where the stuff is beautiful to begin with until you notice that some sort of ambiguous thing is about to happen or is in the middle of happening."

Just casually passing by in the new year, Sam Renseiw caught glimpses of an elaborated jungle fever in a crowded week-end set-up. View looking at vild creatures from a safe, voyeuristic position while waiting for some attraction-repulsion things by clicking here or on the links above.(patafilm # 808, 01'23'', 28.5MB, Quikctime/mov - other versions at bliptv)

Today's Bonus Lumiere Video features a serene, reflective view (Lum # 299,"reflective interior" 01'00'', 17MB, Quicktime/mov)

On more arcane arcade voodling

2010-12-31T00:18:00.007+01:00

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'Why travel?' asks Tomas Espedal in "Tramp", '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. The windows giving on to the old weeping willow and holly hedge, the beautiful lawn, the terrace.."

The first step in any longer journey is always a footstep - the brave or curious act of putting one foot in front of the other and stepping out of the house onto the sidewalk below... the beginning of some stort of footage thus, and one might as well start voodling... As it again happened to me this past year... a time consuming and enjoyable occupation as always...yet still without any fixed goal... The work seems slowly to mutate into something much larger... an arcane visual arcade of sorts, a steadfast, insisting, unassuming visual laboratory, in the midst of the growing deluge of moving images...

Yes, I might as well continue the happy endeavour, in Camus' spirit: "The struggle itself...is enough to fill a man's heart. One must imagine Sisyphus happy." The Arcade Project took thirteen years, so that would leave eight more years ahead...

This past year, I had the privilege of retaining a dedicated audience of fellow video artists and vlogger. Thank you to all for your kind comments and encouragement. It does indeed help the work, as well as the inspiration of watching yours. I have particularly enjoyed the exquisite & rare luxury of new video postings from Daniel Liss, Robert Croma, Steven Ball , Jimi Bogdanov, and Philip Sanderson, Rolf Gerslauer just to name a few; A special thanks to Michael Szpakowski from DVblog for his continuous dedicated, inspiring and generous sharing compilation(s) Since last November Philip sublimely re-and fine-tuned many Lumieres for the exquisite Lumiere et Son project, concluding the work in precisely one year. I am still amazed at the fine subtleties infused, in what at first seems just audio-overlays: what happens is some rather profound new soundings, resonating. Regarding soundtracks: also this year I had the opportunity of lending new soundtracks from Gurdonark and Negativesoundinstitute, and many more... And, last not least: I still ove so much to Brittany Shoot and Andreas Haugstrup's fine Lumiere project Manifesto. It keeps me enabled to re-view and capture so many sights that might otherwise have been lost, or never even seen.

To all of you and the many more Patalab friends I might not have mentioned -I do miss you ,though)- a heartfull thank you and the best wishes for a happy, prosperous and fruitful new year ! Click here or on the links above. (patafilm # 806b",happy new 11" , 02'17'',42Mb, Quicktime/mov - other versions at Bliptv) Kind regards, Sam Renseiw.

On expressive hotch potch voodling

2010-12-29T19:37:00.014+01:00

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"Elements of Voodle are authentic, heartfelt, genuine, original condensed snapshots. Poetry arises from the interaction of those elements. Meaning is important only if it employed as one such factor. Voodles play off sense against nonsense. I prefer nonsense, but that is a purely personal matter... almost becoming Caligari! "

Yet, it is reality as such that is most fascinating, states Sam Renseiw, probing the limits of documentation as intertwined tropes of simultaneous syneasthetics -palimpsests-with seemingly anonymous bouts of reality;View one more attempt at expressionistic delimiting without defining by clicking here or on the links above. (patafilm #807, 02'06'',38MB, Quicktime/mov -other versions at bliptv)

Today's Bonus Lumiere Video features a naval, straight-forward view, with passage. (lum#298,"passing harbour-cruise", 01'00'', 17MB, Quicktime/mov)

On some artfull conditions in voodles

2010-12-19T12:18:00.006+01:00

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"The necessary condition for an Voodle is sight," Janouch told Kafka; and Kafka smiled and replied: "We voodle things in order to drive them out of our minds..." My Voodles are a way of shutting my eyes..."What the Voodle reproduces to infinity has occurred only once: the voodle mechanically repeats what could never be repeated existentially... yet, a Voodle is always invisible, it is not it that we see."

Remembering Barthes considerations that "the age of voodling corresponds precisely to the explosion of the private into the public", (or rather into the creation of a new social value, which is the publicity of the private), Sam Renseiw concocted footage from two recent, semiprivate events, into a distinct diptych voodle. View some private glimpses of jump-cutted reality by clicking here or on the links above. (patafilm # 806, 02'24'', 41MB, Quikctime/mov - other versions at Bliptv)

Today's Bonus Lumiere Video features a quiet moment of winter after sunset-glow. (lum# 297,"moon-house-boat"15Mb, 00'59'', Quicktime/mov)

On fragmentation and long takes voodling

2010-12-11T21:11:00.006+01:00

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" Fragmentation is indispensable if one does not want to fall into representation. To see beings and things in their separate parts. Render them independent in order to give them a new dependence...Displaying everything condemns voodling to cliché, obliges it to display things as everyone is in the habit of seeing them. Failing which, they would appear false or sham."

Toggling between Bresson and Bazin, Sam Renseiw voodled forth a fragment of quotidian by mean of a long take., accomodating both; View the short, poetic passage on a clear day from one-fixed-point-to-another via sublime urban shore(s) and full-rigger by clicking here or on links above. (patafilm # 805b, 03'55'', 71MB, Quicktime/mov - other versions at Bliptv)

Today's Bonus Lumiere Video features a sunny moment in the library office. (lum# 296," library shadows" 01'00'', 17MB, Quicktime/mov)

On cold attics as new art hotspots

2010-12-05T21:47:00.006+01:00

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" Voodling, said Andre Bazin, substitutes for our view of the world a world that accords with our desires. Cold-attic is the sort of story of this world...in which the real exists only as perceived, in that situations can be said to exist only when a consciousness is engaged with something other than itself. In this Voodled view, reality is not a completed sphere the mind encounters, but an “emerging- something” which the mind essentially participates in..."

A day after JLG's 80th birthday, Sam Renseiw follows professor Ezik inviting him to climb an internal Jacob's Ladder to experience [new] elevated art-den revelations, to assert a reality according to our desires. View the polar-cabin demonstrating the same-same-but-different maxim by clicking here or on the links above. (patafilm # 804, 02'34'', 65MB, Quicktime/mov - other versions at Bliptv)For ulterior Vaterpas Research, voodled by yours truly, click here.

Today's Bonus Lumiere Video features a simple revelation: the planting of tulips in Copenhagen parks is done in early December. (lum # 294,"tulip planter" 01'00'', 16MB, Quicktime/mov)

On Voices in Movements, and their Images

2010-11-28T12:18:00.004+01:00

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"... it is necessary that the perception maintain in its depth all their corporal ties: it is by voodling, it is still with my eyes that I arive at the true thing, with the same eyes that a moment ago gave me monocular images - now they simply function togehter as though for good. Thus the relation betwen things and my body is decidedly singular: it is what makes me sometimes remain in apprearances, and it is also what sometimes brings me to the things themselves..."

Continuing the ongoing inquiries on body and space morphologies, Sam Renseiw investigated the simultaneity of onomatopoetic moves and inspired writing, in the midst of Movements and their Images. View the jump-cutted concoction of Stine and Gerd's footage in sublime contemporary confinement with Linda's work by clicking here or on the links above. (patafilm # 803b, 06'16'', 141MB(!), Quicktime/mov - other versons at Bliptv)

Today's Bonus Lumiere Video is a restrained, framed repo-view, from the same fine premises. (lum # 293, 01'00'', 14 MB, Quicktime/mov)

On oblique phenomenologies of perception

2010-11-23T19:32:00.005+01:00

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"Every perception takes place in an atmosphere of generality, and is presented to us anonymously. Every time I experience a sensation, I feel that it concerns not my own being, the one for which I am responsible, and for which I make decisions, but another self, which has already sided with the world, which is already open to certain of its aspects, and synchronized with them. Between my sensation and myself there stands always the thickness of some primordial acquisition which prevents my experience from being clear to itself."

Bearing in mind that in perception, "I" discover a sense which "I" did not constitute, Sam Renseiw concocted a batch of recently captured interior urban footage on a corner site in Frederiksstaden into a observational docu-voodle. View the saraband of jump-cut prospects finalised with rather royal out-looks by clicking here or on the links above. (patafilm # 801b, 02'10'', 34MB, Quicktime/mov - other versions at Bliptv)

Today's Bonus Lumiere Video features a fleeting yet contemplative view of/in a unique urban setting [Lum # 295 "royal view" 00' 26'' 9.4MB, Quicktime/mov)

On feeling at home and other triads

2010-11-18T13:06:00.006+01:00

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" ELLEN is about feeling at home, which is not necessarily where you live. Five cities' individual stories and inhabitants are brought into the performance, presented by three actors; The performance ELLEN is s a meeting between the unknown and the foreign. What is personal, what is universal. The local and the common. (An unusual theatre-experience to be seen and especially heard.)"

Questing the Hotel again, Sam Renseiw indulges in a bout of local Ellen; View the somehow (barking) juxtaposition(s) of oblique, local, foreign and common by clicking here or on the links above. (patafilm # 800, 01'16'', 21,4MB, Quicktime/mov - other versions at Bliptv)

Today's Bonus Lumiere Video features a short moment of diptych academic screening;(Lum#292 "academic screening" 00'56'', 14MB, Quicktime/mov)

On simple cognitive magnificence

2010-11-13T20:56:00.007+01:00

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"Watching Voodles is a form of hallucination. The people we encounter among the frames are not there. The reality they acquire in our mind is equal to the effort we make in building them in our mind. Sufficient training will help understand the meaning of someone waving semaphores up and down but true watching requires something more of you than knowing how to (re) cognise moving images or understanding the relationship between a sign and its referent. The patalab voodles invite a cooperation greater than the peremptory commands of a traffic light. Whoever came up with the idea of separating green from red with the happy ambiguity of yellow was clearly someone who enjoyed watching Voodles."

Practising some simple cognitive R&R while momentarily working in Otternes Bygdetun near Flam, situated in the innermost part of the Aurlandsfjord, Sam Renseiw speculates on the nature of body and space morphologies, concocting a simple piece of kineplastic. (re)View the simple magnificence by clicking here or on the links above. (patafilm # 799, 37MB,02'26'', Quicktime/mov - other versions at Bliptv)

Today's Bonus Lumiere Video features another view from a room with a window. (Lum # 290, "passing ferry", 01'00'', 14MB, Quicktime/mov)

On undercover field working [office]

2010-11-05T22:20:00.007+01:00

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"Whereas in earlier work deepblue examined the codes of the theatrical space, in Field Works it unravels the conventions of non-theatrical spaces in small-scale performances. Field Works-office seeks the mystery and poetry of the office. It explores how we absorb space and are absorbed by it and how environment influences our behavior and our movements."

In deepblue mood, Sam Renseiw recently got undercover in an architecture office to record footage. View Heine, Yukiko and Brynjar working out in the office, passing on Brynjar's drawings while Fabrice filled the air with soundings, by clicking here or on the links above. (patafilm # 798, ©, 10'59'', 143MB(!), Quicktime/mov - other versions at Blip.tv)

Today's Bonus Lumiere Video features simple moves, framed in rather complex reflecting(s). (Lum # 291 "framed spaces" 01'00'', 14MB, Quicktime/mov)

On Impure Company in a gap

2010-10-31T11:36:00.004+01:00

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“Where is my vote? Where is their vote? This is not the first time that votes are gone. Where have all the other votes gone? What? Have I forgotten? Have I forgotten how these people are? What they did, do and can do? Who is this green person? He is a little bit better than the other one so, what do I shout, screech, yell, and cry for? For something a little bit better? I know who is wrong, but who is right?”

Quoting Hooman Sharifi, Sam Renseiw proceeds to investigate Impure Company's recent unfolding in closed quarters in Bergen. View the footage of another performance of "Once upon time country" with deserts from Zupperia at the start and end of the moves by clicking here, on the icon, or on the links above.(patafilm # 797, 48MB, 03'13'', Quicktime/mov - other versions at Blip.tv)

Today's Bonus Lumiere Video features another complex fly-tip investigation, as part of a workshop (Lum # 289 "fly-tip invest", 01'00'' 14Mb, Quicktime/mov)

On bracketing a simulated metaverse

2010-10-18T17:30:00.003+02:00

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" The voodler observes and experiments; that is, he/she ascertains factual existence according to experience; for the voodler experiencing is a grounding act which can never be substituted by a mere imagining. And this is precisely why science of maters of fact and experimental science are equivalent concepts. "

Remembering also, that the ultimate grounding act is not only experience but rather a seeing of essences, Sam Renseiw investigates a bracketed moment of simulated interior_metaverse, deployed as an East-European kiosk, looking very real, indeed. View the recorded spacial meta-introversion by clicking here or on the links above. (patafilm # 796, 03'58'', 60MB, Quicktime/mov - other versions at Bliptv)

Today's Bonus Lumiere Video features two more works with passing traffic (Lum # 288,"art & traffic" 01'00'', 12MB Quicktime/mov)

On more aleatoric landscape_capture

2010-10-12T15:27:00.011+02:00

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" A too-expected image (cliché) will never seem right, even if it is... [thus] set up your voodle while shooting. It forms for itself knots to which all the rest clings...[for] what no human eye is capable of catching, no pencil, brush, pen, of pinning down, your camera catches without knowing what it is, and pins down with a machine's scrupulous indiference... the insensible bond connecting your images which are the furthest apart and most different, is your vision. "

Remembering Bresson's kind & inspiring words , Sam Renseiw paraphrases (Notes on the Voodler) while concocting a quick aleatoric triptych docu-voodle from recent Norwegian footage. View one more attempt (slightly disturbed) at capturing more landscaping details, while preparing for a -more intense- upcoming cinematographic project involving silent language, by clicking here or on the links above. (patafilm # 794b,03'47'', 53MB, Quicktime/mov - other versions at Bliptv)

Today's Bonus Lumiere Video features old-fashioned space-mapping activities. (lum#286 "finishing touches" 01'00'', 12MB, Quicktime/mov)

PatArchive Video #2 features an older, box(ed) project, involving a dog and captured culture. (patArchive#2, 02'27'', 36MB, Quicktime/mov)

On sublime and beautiful in nature voodle

2010-10-03T13:45:00.005+02:00

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" The passion caused by the great and sublime in nature, when those causes operate most powerfully, is astonishment; and astonishment is that state of the soul, in which all its motions are suspended, with some degree of horror. In this case the mind is so entirely filled with its object, that it cannot entertain any other, nor by consequence reason on that voodle which employs it. Hence arises the great power of the sublime, that, far from being produced by voodling, it anticipates our reasonings, and hurries us on by an irresistible force. Astonishment, as I have said, is the effect of the sublime in its highest degree; the inferior effects are admiration, reverence, and respect."

While paraphrasing Burke, Sam Renseiw simultaneously converts recently shot footage of sublime-nature-passing-by into a remarkable docu-voodle with distinct (altered) cognitive features & thought provoking, multiple visual readings; View a tiny moment of slowed Osterfjord shore voodle by clicking here or on the links above. (patafilm # 793b,50Mb, 03'21'', Quicktime/mov - other versions at Bliptv)

Today's Bonus Lumiere Video records and reflects on a more complicated mirror effect. (Lum # 287, facetted space" 00'42', 9MB, Quicktime/mov)

On praising Air on Fire & Heinrich

2010-09-27T22:14:00.005+02:00

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"I like the feel of voodle noir a lot and it's all about a mood that comes about when people's desires lead them into areas where they're doing something against their conscience and, you know, then suffering the results. So it's about fear, and it's a night-time feeling and that - that thing creeps into my voodles, you know, quite a bit.. Voodle noir has a mood that everyone can feel. It's people in trouble, at night, with a little bit of wind and the right kind of music. It's a beautiful thing... There's so much darkness, and there's so much room to dream. They're mysteries, and there are people in trouble, and uneasiness."

Indeed: paraphrasing Lynch the day after his local opening, Sam Renseiw blended fresh footage from the award show at Heinrich's with glimpses of the air on fire... View various character unfold in voodle noir spaces by clicking here or on the links above. (patafilm # 792, 02'44'', 41Mb, Quicktime/mov - other versions at Bliptv)

Today's Bonus Lumiere Video continues patalab's inquisitive meta-lumiere viewing tradition. (lum#284," lynch-short", 01'00'', 14MB, Quicktime/mov)

On over your cities grass will grow

2010-09-23T11:57:00.010+02:00

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" A voodling device is less of a machine to produce order than a trap to catch randomness; A trap to transfix those small details that one would find banal, or farcical, or anecdotic, or just plain goofy, but that are, nevertheless, the intrinsic fabric of the voodle on its way to be made. Ultimately, the real enemy is rational intention. To me, voodling is what enables the elimination of all traces of intents. You must understand that I value such concepts as: randomness, serendipity, experimentation. These are things that interest me greatly in what may become, in reverberations, new reflections on the nature of voodles.."

Paraphrasing Labarthe, Sam Renseiw persist with his prolonged obsessive-compulsive voodle experiment, this time with yet another attempt at the repossession of space(s) with recently captured footage. View the discretely cut-up, hastily montaged docu-voodle of documented spaces with distinct songs without words overlay by clicking here or on the links above to realise how randomness and serendipity always seem so intentional after the creative act. (patafilm # 791, 02'14'', 33MB, Quicktime/mov - other versions at Bliptv)

Today's Bonus Lumiere Video features a distictive overview, fair to art .(Lum # 285 "art-fair-art " 01'00'', 12MB, Quicktime/mov)

And, regarding other ways of anticipating space: a special bonus-video, [©],a bookish treat, dedicated, from the patalab archive: abstract space(s) out-layed, cut-up, unfolded. (patalabarchive# 1, 02'32'',39MB, Quicktime/mov)

On shift from general to specific spaces

2010-09-21T13:27:00.008+02:00

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" Instead of viewing a landscape, the voodler(s) preferred to feel it, and with the feeling went a heightened perception of its beauty.Instead of comparing one landscape with another, came the surrender to the power of each, to the moments of individual delight; instead of dividing up the landscape into items, a struggle to express its unity [...] "The transformation of objects in space, or objects in time, /To objects outside either, but tactile, still precise... /It's always the same problem-/Nothing's more abstract, more unreal than what we actually see./The job is to make it otherwise.."

Quoting Wright, Sam Renseiw transformed recent footage from a not-so-far-away (urban)landscape into something more specific, while maintaing a sense of abstraction. View the slow-gliding, down-to-earth tinted and somewhat regressive (de)tour by clicking here or on the links above, remembering that the seemingly specific always remains generic, in more ways that not. (patafilm # 789b, 06'02'', 90MB, Quicktime/mov - other versions at Bliptv)

Today's Bonus Lumiere Video features a serene moment of pure quotidian, in a place luckily spared from BIG plans. (lum #283, 01'00'', 12MB, Quicktime/mov)

On slow but lasting simultaneities

2010-09-12T17:35:00.004+02:00

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" Suddenly a few good images fitted for a sketch or voodle strike me, delicate visual hits of which I have (almost) never before found the equal. I immediately start recording. I lie and edit these bits of captured footage for myself, and find that they are capital. Little by little others come and fit themselves to the preceding ones. I grow keenly wakeful. It was as if a vein had burst in me; one sequence follows another, and they fit themselves together harmoniously with telling effect.[...] a wonderful sense of pleasure empowers me. I voodle as one possessed, and edit yet another post, without a moment's pause."

This time paraphrasing Hamsun, Sam Renseiw edits recently collected northern footage into a triptych docu-voodle (with dualism ending), enabling [a] delicate transition(s) of outer and inner spaces; View the slow conversion with persimmon overlay by clicking here or on the links above. (patafilm # 790, 04'46'', 68MB, Quicktime/mov - other versions at Bliptv)

Today's Bonus Lumiere Video features a moment of colourful spray. (Lum # 283, "tits spray", 01'00'' 12Mb, Quicktime/mov)

On figure-ground perceptions

2010-08-30T18:31:00.004+02:00

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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

2010-08-22T21:54:00.005+02:00

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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

2010-08-19T19:01:00.004+02:00

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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

2010-08-11T16:26:00.004+02:00

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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

2010-08-08T22:30:00.007+02:00

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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

2010-08-04T11:11:00.006+02:00

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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

2010-08-01T21:17:00.007+02:00

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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)

Of greenmen appearances in skating voodles

2010-07-30T19:36:00.012+02:00

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" A Green Man is a sculpture, drawing, or other representation of a face surrounded by or made from leaves. Branches or vines may sprout from the nose, mouth, nostrils or other parts of the face and these shoots may bear flowers or fruit. Commonly used as a decorative architectural ornament, Green Men are frequently found on carvings in churches and other buildings (both secular and ecclesiastical).....The Green Man motif has many variations. Found in many cultures around the world, the Green Man is often related to natural vegetative deities springing up in different cultures throughout the ages. Primarily it is interpreted as a symbol of rebirth, or "renaissance," representing the cycle of growth each spring. Some speculate that the mythology of the Green Man developed independently in the traditions of separate ancient cultures and evolved into the wide variety of examples found throughout history..."

While speculating on the actual origin of greenmen, San Renseiw recorded their sudden appearances while skating, last Friday night. View the classic abridged track-footage with induced greenmen and mashed-up remix greenery soundscape from Gurdonark's fine new Northern Texas butterfly compositions by clicking here or on the links above. (patafilm#781,[CFNS2010/1], 106MB, 05'24'', Quicktime/mov - other versions at Bliptv)

On patterns of Fionian derive(s)

2010-07-24T19:31:00.011+02:00

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" If chance plays an important role in derives this is because the methodology of psycho-geographical voodle observation is still in its infancy. But the action of chance is naturally conservative and in a new setting tends to reduce everything to habit or to an alternation between a limited number of variants. Progress means breaking through fields where chance holds sway by creating new conditions more favourable to our purposes. We can say, then, that the randomness of a dérive is fundamentally different from that of the stroll, but also that the first psychogeographical attractions discovered by dérivers may tend to fixate them around new habitual axes, to which they will constantly be drawn back."

While on a short summer derive in Fionia, Sam Renseiw collected some bit of recorded footage into a rather crude mash-up; view the concoction by clicking here or on the links above. (patafilm # 280, 02'56'', 33.4Mb, Quicktime/mov - other versions at Bliptv)

Today's Bonus Lumiere Video Features a serene moment of court-yarded nature. (Lum#278, willow&weep, 01'00'', 20MB, Quciktime/mov)

On shining light on the little street corners

2010-07-18T12:40:00.005+02:00

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" At the core of her work resides the intersection of place and experience. She tries to do this with as much respect as possible to foreign cultures and traditions, while staying true to the call of the artist by shining a light on the little street corners.."

Funny to re-view parts of Venice Beach, muses Sam Renseiw, voodle_howling without missing a beat, on visit in HCA's hometown, after duly noting that things are queer. View the artificial long-take, experience a deja-vu -simultaneous contextual-shift by clicking here or on the links above.(patafilm # 779, 04'14'', 49MB, Quicktime/mov - other versions at Bliptv)

On orphic gaze, avifauna and long-takes

2010-07-15T13:01:00.006+02:00

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" The aesthetic world of the voodler is of a different kind from that of the world about him. Its boundaries enclose a substantially and essentially different microcosm. The voodle as such and the object in itself share a common being, after the fashion of a fingerprint. Wherefore, voodling actually contributes something to the order of natural creation instead of providing a substitute for it. [...] The voodler does not consider his aesthetic purpose and the mechanical effect of the image flow on our imaginations as things apart. For him/her, the logical distinction between what is imaginary and what is real tends to disappear. Every image is to be seen as an object and every object as an image. Hence voodling ranks high in the order of creativity because it produces an image that is a reality of nature, namely, an hallucination that is also a fact. The fact that voodling combines tricks of visual deception with meticulous attention to detail substantiates this."

After a longer period of idleness, Sam Renseiw, having accumulated novel footage, concocts new voodles for critical review. Today's post combines two somehow opposite stances: a longer avifauna combo-flow of panoramic long-takes juxtaposed with the addition of a cut-upped Frisbee session; View the long take by clicking here or on the links above, while the nightly Frisbee throwing compilation is only accessible by clicking here; (patafilm # 778,04'21'', 48MB, Quicktime/mov - other versions at Bliptv)

Today's Bonus Lumiere Video features a moving contenplation of wild things (Lum # 277, "wild things", 01'00'', 14 MB, Quicktime/mov)

On evidence of things unseen

2010-06-19T21:31:00.004+02:00

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“ Diversity encourages creativity, while repetition anaesthetises it. Often architectural projects are too homogeneous, sometimes because of a self-centred desire to see buildings apart from their context, sometimes because of an exaggerated aesthetics commitment which tends to precious ‘architects’ architecture. But whatever the cause, such homogeneity makes it difficult for the voodler to add anything of their own, and we lose that rich resource of popular creativity which can transform a space into a place and give it life…”

Paraphrasing Lucien K, Sam Renseiw wanders through a recently opened exhibition, trying to find other footholds than the well meant attempts of Kroll-like repetitions reversing rich resources of architectural creativity into -probably -new homogenities... View the footage unfold with a UFO takeoff into urban space & other unseen evidences by clicking here or on the links above.(patafilm # 776, 05'25'', 63MB, Quicktime/mov - other versions at Blip.tv)

Today's Bonus Lumiere Video feature a quiet anticipation.(Lum # 276 " anticipation" 01'00'', 12MB, Quicktime/mov)

On blind voodler and mermaids

2010-06-15T21:33:00.005+02:00

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" The sensual eye is just like the palm of the hand. The palm has not the means of covering the whole of the beast...The eye of the Sea is one thing and the foam another. Let the foam go, and gaze with the eye of the Sea. Day and night foam-flecks are flung from the sea: of amazing! You behold the foam but not the Sea. We are like boats dashing together; our eyes are darkened, yet we are in clear water.. [So oft in voodle squabble,/The disputants, I ween,/Rail on in utter ignorance/Of what each other mean,/And prate about a mermaid/Not one of them has seen-in real-]

I the course of a recent fine re-union visit, Sam Renseiw joined the merry crowd for a bout of mermaid spotting; Under the present circumstances, it resulted in a somehow simultaneous scattering of spaces. View the synthesis voodle, combining thesis and antithesis into a titillatingly dialectic moving still by cicking here or on the links above. (patafilm # 775,02'39'', 32MB, Quicktime/mov - other versions at Blip.tv)

Today's Bonus Lumiere Video feature a surprizing gaze on urban shores, with angelus novus view. (lum #275 "bergen funicular" 01'00' 12MB, quicktime/mov)

On the morphology of finger and hand (I-IV)

2010-06-01T21:23:00.005+02:00

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" I have established how the molar (i.e. an assemblage) elements of voodle theory can work along side newly created ideas developing from Deleuzian ideas, a molecular paradigm … I don’t foresee this use of both the molar and the molecular as in any way a new binary distinction. Rather, the ‘in-between’ space of the molar and the molecular may be compared, though not identified, with the space of voodle-becoming, a space which has no boundaries within boundaries, a place which is not strictly hybridized space, but a space of continual motion, movement and becoming. A neo-aesthetics of sensation enables this consideration of how voodles impacts, how it innervates and engages as a material capture, as an event, as a processuality … Vision and sound are not purely experienced through representation, through the visual and the aural, but through the materiality of a whole range of bodies, from deeper engagement of body/brain and world, bodies which are human, non-human, technologized and machinic.."

" My ambition, as voodler, my point, I would go so far as to say my fixation, my constant fixation, is primarily to concoct an viewable artifact as original as it is illuminating, an artifact that would, or just possibly might, act as a stimulant on notions of construction, of space, of cognition, of action, a stimulant, in a word, on new space explorations today " muses Sam Renseiw, paraphrasing Georges Perec, while condensating a recent piece of choreography into four, simply framed, fixed voodles. View the first unfolding of moving morphology of body and space in a virtual setting by clicking here or on the links above.(patafilm # 774c, 02'35'', 32MB, Quicktime/mov -other versions at Bliptv)

For the other 4 dance_voodles click on the apropriate links here ># 774 a > quicktime / flash / .m4v / direct streaming; # 774 b > quicktime / flash / .m4v / direct streaming; # 774 d > quicktime / flash / .m4v / direct streaming ; Enjoy.

Today's Bonus lumiere Video features the start of spektakel!(Lum # 274, 01'00''. 11MB, Quicktime/mov)

On Kuleshov effects in some spaces

2010-05-26T19:51:00.008+02:00

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" This particular voodle studies the space-effective and filmic creative means such as framing, cutting and narrative perspective and transfers those from architecture: The filmic concept of framing which deals with different views of the frame introduces for example the concept of the offscreen into architecture voodles and explains how the imagination of the viewer can be stimulated by deliberately hiding parts of the space. The analysis of the voodle cutting assumes that space perception in architecture is no continuous process but consists of single segments, sections or visual spaces. This idea leads amongst other things to the formulation of the spatial cut, which describes the experience of space, taking into consideration the subject-related visual sensuous understanding. The narrative perspective finally investigates discursive structures and spatial narrative strategies transferring them into the architectural analysis."

Sometime the compression of spaces is partly a re-po act of many layered space views just compressing the impression(s), muses Sam Renseiw while montaging recent footage from two interior locations. The first location is an fine academic one, while the second is a public x-room. View the spatial voodle with included oblique Kuleshov effects by clicking here, on the tumbnail, or on the links above. (patafilm # 773, 04'55'', 62MB, Quicktime/mov - other versions at Bliptv)

Today's Bonus Lumiere Video features a hanging biosphere.(Lum # 273,"biosphere" 01'00'', 11Mb, Quicktime/mov - .m4v)

On nuptial party footage pecularities

2010-05-21T09:44:00.007+02:00

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" For the person who wants to capture everything that passes before his eyes," Sam Renseiw would explain, even if nobody was listening to him any more, "the only coherent way to act is to voodle at least one voodle an hour, from the instant he opens his eyes in the morning to when he goes to sleep. This is the only way that the exposed smart cards will represent a faithful diary of our days, with almost nothing left out. If I were to start making documentaries, I’d see this thing through, even if it meant losing my mind.."

Situationist voodling is a cheerful enterprise, generating quantities of concentrated, special footage of particularly memorable events. Voodling does remain a fine endeavour to rediscover the sublime in the quotidian, and to continually re-assess notions of the morphologies of body and space. View Sam's latest, almost classic, hand&foot(r)apture, tripthych voodle from attending a recent wedding, by clicking here or on the links above.(patafilm # 772, 05'24'', 69Mb, Quicktime/mov - other versions at Bliptv)

Today's Bonus Lumiere Video features a more lonesome endeavour. (Lum#272,"kickback at funny house" 01'00'', 12Mb, Quicktime/mov - .m4v)

On embodied cognition & sustainable efforts

2010-05-14T11:30:00.006+02:00

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" Cognition is for action. The function of the mind is to guide action and things such as perception and memory must be understood in terms of their contribution to situation-appropriate behaviour. This claim has to do with the visual and memory perception that our minds have. Our vision is encoded into our minds as a “what” and “where” concept. Meaning the structure and placement of an object. This idea goes back to what we are used to and what we have been exposed to. Our perception of what we see comes from our experience and exposure of it. Memory in this case doesn’t necessarily mean memorising something. Rather remembering in a relevant point of view instead of as it really is. We remember how relevant it is to us, and decide if it’s worth remembering."

Roaming carefully about in a distinct and truly remarkable urban context worth remembering, Sam Renseiw follows some arduous task of sustainability performed with dignity. View the short sequence of embodied cognition (with protective gear) by clicking here or on the links above. (patafilm # 771, 02'24'', 33MB, Quikctime/mov -other versions at Blip.tv)

Today's Bonus Lumiere Video incorporates the same setting with adding some new performers to the setting. (Lum # 270," sustaining efforts " 01'00'', 12MB, Quicktime /mov - .m4v)

On the nature of expectations

2010-05-11T17:27:00.008+02:00

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" One has worked vainly when one has done so without success, so that one has wasted one's time and effort: one has worked in vain when one has done so without attaining the intended goal, because of the defectiveness of the work. If I cannot complete my task, I work vainly; I am uselessly wasting my time and effort. If the task I have done does not have the effect I was expecting, if I have not attained my goal, I have worked in vain; that is to say, I have done something useless.... It is also said that someone has worked vainly when he has not been rewarded for his work, or when this work has not been accepted; because in this case the voodler has wasted his time and effort, without this at all prejudicing the value of his work, which can be very good.."

Concocting a speed-voodle from left-over footage from a recent visit, Sam Renseiw speculates on the actual possibilities of sustainable approaches and simultaneously wishing for more subdued, humble roles to assign architecture in retrospect. View the montaged derive vitesse with added stormbugs by clicking here or on the links above. (patafilm # 770, 02'22'', 101MB(!), Quicktime/mov- other versions at Bliptv)

Today's Bonus Lumiere Video features a much simpler build-up, seen reflectively from below. (lum # 269,"reflective build-up" 01'00'',12MB, Quicktime/mov - .m4v)

On slow backyard derive

2010-05-07T10:33:00.003+02:00

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" The sustainability analysis of the absolute or relative character of fissures in the urban network, of the role of micro-climates, of distinct neighbourhoods with no relation to administrative boundaries, and above all of the dominating action of centers of attraction, must be utilised and completed by psycho-geographical methods. The objective passional terrain of the derive must be defined in accordance both with its own logic and with its relations with social morphology."

Laying out psycho-geographical recordings from a recent urban back yard dérive in the form of an ultra slow, attentive documentation, Sam Renseiw regrets the very short time allocated to comprehend the complex site. View the slowed mapping of the situation by clicking here or on the links above. (patafilm # 769, 05'22'', 82MB, Quicktime/mov - other versions at Bliptv)

Today's Bonus Lumiere Video features a rather odd fissure in the urban context. Note the disqualifying anomalies. (Lum # 268, 00'55'', 12MB, Quicktime/mov - or: .m4v )

On high point derive voodling

2010-05-04T13:19:00.004+02:00

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" What makes most documentaries so easy to understand is the arbitrary limitation of their subject matter. They confine themselves to depicting fragmented social functions and their isolated products. In contrast, imagine the full complexity of a voodled moment that is not resolved into a work, a moment whose development contains interrelated facts and values and whose meaning is not yet apparent. This confused totality could be the subject matter of such a voodle."

Recently on derive high up in a fixed cultural setting, Sam Renseiw attempts to record excerpts of a specific urban microclimate; View the contours of the distinctively psychogeographical vortex-voodle by clicking here or on the links above. (patafilm# 768, 04'16'', 68MB, Quicktime/mov - other versions at Blip.tv)

Today's Bonus Lumiere Video features a fine night view of the above posted voodle's primary context. (Lum # 267,"juvelir skup" 01'00'', 13MB, Quicktime/mov)

On late mournings

2010-05-01T13:56:00.005+02:00

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"What can be done, if our sight lacks absolute power to devour objects ecstatically, in an instant, leaving nothing more than the void of an ideal form, a sign like a hieroglyph simplified from the drawing of an animal or bird? A slightly snub nose, a high brow with sleekly brushed-back hair, the line of the chin - but why isn't the power of sight absolute?"

Approaching a site of mourning commemorating a recent catastrophe, Sam Renseiw attempts, in Grotowski spirit, to subjectively record, via objective-para-voodling techniques, a short moment of genuine history. View the long take (with one cut) by clicking here or on the links above.(patafilm # 767, 02'52'', 49MB, Quicktime/mov - other versions at Bliptv)

Today's Bonus Lumiere Video features the serene & peaceful framing from an urban site with a dramatic and very turbulent past.(Lum # 266, "sigismund's column"01'00'', 12MB, Quicktime/mov)

On encountering demons on sakura edge

2010-04-30T12:43:00.002+02:00

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" We push time from us, and we wish him back; Lavish of lustrums, and yet fond of life; Life we think long, and short; death seek, and shun; Body and soul, like peevish man and wife, United jar, and yet are loth to part...Oh the dark days of vanity! while here, How tasteless! and how terrible, when gone! Gone! they ne'er go; when past, they haunt us still; "

Lounging the shores of a cold and not yet fully blooming sakura festival, Sam Renseiw encounters the personification of his two procrastination devils: meet the relaxed and the tensed afraid-type practising their stigma out-doors by clicking here or on the links above. (patafilm # 765, 04'03'', 61MB, Quicktime/mov - other versions at Bliptv)

Expect: more urban derives from surprising places in the near future. Best, SamR.

On voodle derive in confined spaces

2010-04-22T20:10:00.005+02:00

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"...If chance plays an important role in dérives this is because the methodology of psychogeographical observation is still in its infancy. But the action of chance is naturally conservative and in a new setting tends to reduce everything to habit or to an alternation between a limited number of variants. Progress means breaking through fields where chance holds sway by creating new conditions more favorable to voodling purposes.."

Caught on a strife of almost random urban derive, Sam Renseiw retreats into an internal spatial field; View the concocted psychogeographical voodle by clicking here or on the links above. (patafilm # 764, 03'30''. 58MB, Quicktime/mov - other versions at Blip.tv)

Expect: more derives from surprising places in the near future. Best, SamR.