On re-mapping(s) in memory voodles

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

" 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 enigmas of voodle transparency

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

"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 mapping inter-locked spaces

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

"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 the nature of expectations

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

" 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 outer and inner space walks

click for video: Quicktime / .m4v for ipod/iPhone / direct streaming for Pc

" The power of montage resides in that it includes in the creative process the emotions and mind of the spectator. The spectator is compelled to proceed along that same creative road that the author travelled in creating the image. The spectator not only sees the represented finished work, but also the experiences the dynamic process of the emergence and assembly of the image just as it was experienced by the author."

With only slight montage in the editing process, Sam Renseiw muses over the marvellous, serendipitous travelling footage from a recent walk through Kyoto film sets. Enjoy the un-planed narrative sequence, opening up a gap between juxtaposition of reality and its representation, involving both viewer and voodler in spatial and temporal levels by clicking here or on the links above. (patafilm # 637, 02'09'', 32.9MB, Quicktime/mov - other versions at Blip.tv)

Today's Bonus Lumiere Video features, via an apparent simple frame, a complexity of interlocking spaces and moves therein. Enjoy a short moment of still(ness) before the journey's continuation. ( Lum # 158 " sanjo-line-stop " 00'59'' 4.6MB, Quicktime/mov)

On the morphology of space and body

clik for video: Quicktime / .m4v for iPod / direct streaming for PC at Blip.tv

"A man sets out to draw the world. As the years go by, he peoples a space with moving images of provinces, kingdoms, streets, bays, ships, islands, chairs, rooms, instruments, stars, horses, and individuals. A short time before he dies, he discovers that the patient labyrinth of lines traces the lineaments of his own face."

Every voodle seems to be an ideal plane inserted into the realm of reality, muses Sam Renseiw while compiling an intriguing, fairly complex and condensed montage of interior gazes, extracted back into outward appearances. View the puzzling, fragmented piece, encompassing a personal endoscopic travel, fixed interior tableaux of otherwise inaccessible theatrical spaces and reflective vistas of minute, fleeting passage by clicking here or on the links above. (patafilm # 601, 02'25'', 13MB, Quicktime/mov - other versions at Blip.tv)

Today's Bonus Lumiere Video features a more serenely framed platform for the application of contemplative gaze(s). (Lum # 117, "see, sea seating" 00'54, 4.3MB, Quicktime/mov)

Today's Patalab Metaphor Video re-play supplement features a short, instataneous ephemeral. (patafilm # 466 [31.07.2007 post),02'15'', 13.7MB, Quicktime/mov)

On image as pure creation of the mind

click for video: Quicktime / .m4v for iPod / other versions at Blip.tv

" The image is a pure creation of the mind, it cannot be born from a comparison, but comes from the bringing together of two distant realities... An image is not powerful because it is brutal and fantastic, but because the association of ideas is distant and true."

Contemplating the statement that the public demands that a video work transport it elsewhere, whereas voodling claims to fix the viewer's mind on the work as with a pin, Sam Renseiw montaged a brief juxtaposition of images . View the cut-up, syncopated brew by clicking here or on the links above.(patafilm # 575, 02'35'', 13.9MB, Quicktime/mov - other versions at Blip.tv)

Today's Bonus Lumiere video features a short, shadowy indoor ball game. (Lum # 92 "indoor ball game", 00'57'', 4.7MB, Quicktime/mov. Other's Lumieres at the project's luminous main site.

Today's Patalab Metaphor Video re-play supplement features a genuine view from Le Corbusier's Mother's Petite Maison's bath-tub to Lake Geneva. (patafilm # 71 backdated 00'44'',[10.01.2006 post],3.8MB, Quicktime/mov). Click on the bold links to view or for more info.

On the missing sock phenomenon

click for video: Quicktime version / Flash version

"But the fact is, on that night, I felt I’d come a little closer to understanding the mystery of the missing sock phenomenon – I’d actually discovered one hiding amongst my jeans and t-shirts. Perhaps they didn’t circle the globe in space after all, they where just marching.."

Concentrating periodically on subtle and utterly banal matters, Sam Renseiw pondered for a moment on the mystery of the missing sock phenomenon, editing some seemingly lost footage, re-found, re-told. View the step by step clarification by clicking here or on the links above. (patafilm # 452, 00'57'', 4.3MB, Quicktime/mov - Streaming Flash version at blip.tv)
Fast track, short and mute Bonus Lumiere video here (Lum # 10, 00'32'', 2.4MB, Quicktime/mov)

Besides its Scandinavian features

"The Swede Eric Moller came to Shanghai in 1919 empty-handed. But he was fortunate to win large sums at the races, and he spent the money on dozens of horses. Within a few years he was a board member at the Jockey Club. Later he set up his own real estate firm and bought a steamboat that sailed between Zhenjiang, Jiangsu Province, and Shanghai. His daughter is said to have had a dream in which she saw a castle like those in the Hans Andersen fairy tales. On awakening, she drew a sketch. The house was completed in 1936. Besides its Scandinavian features, there were some Chinese touches. The enclosing walls had Chinese glazed tiles at the top. It is said that the Moller brothers led a dissolute lifestyle of wine and women."

Sam Renseiw dabbled with some patathic architectural pictorials from early last century. Get visually stimulated in tongues here or sink in above (00'34'', 1,6 MB mov/quicktime ) link updated 02.10.15

The poetry of Elsa von Freytag-Loringhoven

"...She wore a red Scotch plaid suit with a kilt hanging just below the knees, a bolero jacket with sleeves to the elbows and arms covered with a quantity of ten-cent-store bracelets - silver, gilt, bronze, green and yellow. She wore high white spats with a band of decorative furniture braid around the top. Hanging from her bust were two tea-balls from which the nickel had worn away. On her head was a black velvet tam o'shanter with a feather and several spoons - long ice-cream-soda spoons. She had enormous earrings of tarnished silver and on her hands were many rings, on the little finger high peasant buttons filled with shot. Her hair was the color of a bay horse.."

Sam Renseiw's pataforic video excerpt, a somehow fad tribute, an illustration full of cliché, compared to Elsa's real, vivid life and work. View it here or click on the horned gals in the icon above. ( 00'34'', 1.6 MB, mp4 quicktime ) / link update 01.01.15

Vigilantly maintained with detachment

"...In a metaphysically impoverished climate, merely to say that people ought to think of logical possibilities will not help them to tap noetic energy. We might enlist a concept like vision from film critique. The advantage of the term 'vision' is that everyone can understand the use of the eyes, and knows at some level what is involved in seeing even though most have not really thought much about it. Even without being an film maker, a person knows that one critical element in seeing is perspective. A more crucial element is the capacity to be able to handle different perspectives over a period of time. Still better, though more difficult, is the ability to handle various perspectives simultaneously...."
In a state of inward receptivity and temporary disablement, Sam Renseiw unfolds some visual noetic consciousness. Watch the video here or click on the maiden above ( 01'55'' , 7.4 MB, mov/quicktime ) / update 01.10.15