On enigmas of voodle transparency

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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 A Trip To Norway [music_voodle]

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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 memory as place and interior journeys

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

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

On the contraction of (skating) time

click for video: Quicktime / .m4v for iPod / direct streaming for Pc at Blip.tv

“In just the same way the thousands of successive positions of a runner are contracted into one sole symbolic attitude, which our eye perceives, which art reproduces, and which becomes for everyone the image of a man who runs.”

Vaguely speculating about Bergson's concept of intuition that never gives us absolute knowledge of the whole of a series of actions' duration, Sam Renseiw intuitively compressed footage of recent urban skating moves into a short, sliced, perceptive docu-voodle. View the moving urban matter with Hepepe dub by clicking here or on the links above. (FNS08b video,03'40'', 20Mb, Quicktime/mov - other versions at Blip.tv)

Today's Bonus Lumiere Video features a theatrical, open-air, back-stage view.(Lum#132 "back-stage view", 01'00'' 5.2Mb, Quicktime/mov)

Today's Patalab Metaphor Video re-play supplement features quiet moves through a domestic interior.(patafilm # 210,[02.07.2006 post] 01'08'', 5 MB, Quicktime/mov)

On the unreality of spatialized movement

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"If movement is a series of positions and change a series of states, time is made up of distinct parts immediately adjacent to one another. No doubt we still say that they follow one another, but in that case this succession is similar to that of the images on a cinematographic film: the film could be run off ten, a hundred, even a thousand times faster without the slightest modification in what was being shown; if its speed were increased to infinity, if the unrolling (this time, away from the apparatus) became instantaneous, the pictures would still be the same."

Speculating in situ on issues of matter and memory, whilst winter-clearing the hard disk of clutters of older footage, Sam Renseiw voodled a short and sunny, late summer memory for you. View the quick passage of time in urban waterway excerpts of Copenhagen by clicking here or on the links above. (patafilm # 549, 01'13'', 7.5MB, Quicktime/mov - other versions at Blip.tv)

Today's Bonus Lumiere video feature the novel art of racing in fixed and otherwise challenging equipment. (Lum # 67, "fixed, oblique racing" 00'42'', 4.1MB, Quicktime/mov) Lots of other's new Lumieres at the main site.

On intuition and memory prolongation

click for video: Quicktime / Flash / Blip.tv = direct streaming for Pc

" One moment is added onto the old ones, and thus, when the next moment occurs, it is added onto all the other old ones plus the one that came immediately before. In comparison, therefore to the past collection of moments, it cannot be the same as the one immediately before, because the past is “larger” for the current moment than it was for the previous moment. One might say that Tuesday is different from Monday because Monday only includes itself and Sunday, while Tuesday includes itself, Monday, and Sunday. This first image, therefore, implies that duration is memory: the prolongation of the past into the present."

Speculating on matter and memory, Sam Renseiw voodled bouts of duration-lapses, queuing, while drifting into a Japanese prolongation. View the meditative attempt at visually re-framing an exercise complete with fine soundtrack by Gurdonark by clicking here or on the links above. (patafilm # 520, 04'05'', 23MB, Quicktime/mov - direct streaming in Flash or MPEG4 versions at blip.tv)