On undercover field working [office]

click for video: Quicktime / direct streaming for PC

"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

click for video: Quicktime / direct streaming for PC

“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 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)

On auto-focus kinoeye in dance voodle(s)

click for video: Quicktime / mp4 for iphone/ipod / direct streaming for PC

“ There is a vitality, a life force, a quickening that is translated through voodle ...It is not one's business to determine how good a voodle is, nor how it compares with other expression. It is one's aim to keep the voodle channel open, clearly and directly ...One can thus look at dance to impart the sensation of living in an affirmation of life, to be energized, as the viewer, into keener awareness of the vigour, the mystery, the humour, the variety, and the wonder of life. This is the main function of the pataphysic dance voodle recording ”

Still amazed at the apparent automatic keen kino eye capacity of alternative focus by his voodling tool, Sam Renseiw is delighted to capture the languishing sharpness of new choreographed moves, proof that some conceptual wisdom did trickle through the etude, as stated in the synopsis presentation. View a moving excerpt by clicking here or on the links above. (patafilm # 727, 03'42'', 52Mb, Quicktime/mov - other versions at Blip.tv)

Today's Bonus Lumiere Video features further delicate moves from the same dance piece. Enjoy. (lum # 230, " vanilla moves " 01'00'', 12MB, Quicktime/mov)

The Assimil method

“... I can therefore let you in on a secret. Elizabeth is not Elizabeth, Donald is not Donald. And here is the proof: the child that Donald spoke of is not Elizabeth's daughter, they are not the same person. Donald's daughter has one white eye and one red eye like Elizabeth's daughter. Whereas Donald's child has a white right eye and a red left eye, Elizabeth's child has a red right eye and a white left eye! Thus all of Donald's system of deduction collapses when it comes up against this last obstacle which destroys his whole theory...”

A short Renseiw video remake of The Bald Soprano, stretched. Click here to enter, or use La Méthode Assimil above. (4 Mb)

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.

The gravamen of taste

What is the gravamen of taste? In a word, it is the body. Again and again Geoffrey Scott came back to the importance of the human body as the indispensable measure in architecture. The needs and dispositions of the human spirit incarnate—which means both a body in space and a body registering, contemplating space—provide the measure of that bedrock architectural value, the appropriate…..

Another Renseiw visual, supplementing the hazy forum for The Study of the History of Taste. Click here, or enter in the cave above...