On re-collecting and other moves

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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

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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 altered, descriptive contemplation

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" Patalab's voodles closely follow Mr. Palomar's thematic triad: the first type of voodles are chiefly concerned with visual experiences and tend to be purely descriptive; the second deal with anthropological and cultural themes, and the experience involves, apart from visual experiences, language, signs, symbols and added soundtracks. These voodles have a tendency to develop into narratives of sort; The third delineate more speculative experiences, relating these to larger questions on the nature of cosmos, time, infinity, the relationships between ego and world, between mind and matter. From being a descriptive and narrative voodle, it can mutate into something more meditative. Sometimes a voodle becomes a blend of the above themes, and might extends the contemplative nature even further. "

Convinced about the expanding benefits of travelling while staying at home, Sam Renseiw recorded snippets of a skyped visit to an interior space in Belo Horizonte; What appears like a simple set of mashed-up image(s), is a rather complex spatial phenomena shrinking time...in time. Click here to view the amalgam or on the links above. (patafilm # 667, 02'36'', 20,5MB, Quicktime/mov -other versions at Blip.tv)

Today's Bonus Lumiere Video features a simple (sub) urban set-up, on the other side of the globe. A type one voodle, actually: purely descriptive. (lum # 181, 00'54, 7.1MB, Quicktime/mov)