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

click for video: Quicktime / .m4v friPod/iPad / direct streaming for PC

" 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)

Matisse's uncertainties

" Matisse's art, with its spectacular immediacy and its mysterious depths, poses confounding problems for analysis. The intuitive character of his structures and the elusive nature of his themes renders most art historical approaches to the study of forms and symbols pretty much useless. Picasso's themes, with their collage of traditional signs and symbols, are far more susceptible to iconographic analysis than anything in Matisse. The analytical cubism of Picasso and Braque, with its thoroughgoing rejection of traditional perspective, can be studied as an inversion of Renaissance norms, using the same tools that one uses to study those norms. But in Matisse's case, the solutions that he arrives at are always confoundingly particular, and tend to be unrelated to anything like a system of ideas. Intuition is his only system."

Gertrude S.’s fine portrait of Henri Matisse’s struggle, depicted in depth by Sam Renseiw. A moving capture; Click here to view, or tickle the feet above.

ambiguity, redundance and deficiency

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

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