on back to the sea

 

 

"The journey takes us through time and space. On the former seabed, embedded in this artificail nature, we travel back in time to unravel some of stories under the landscape(s). Back to the Sea is a common ritual where we can, together, search for what we have lost..."

After a time without longer recording (shorter pieces almost daily at Sam's IG account),here is a longer docu-voodle, featuring a stranded ark and a longer pilgrimage to the sea.( "Back to the Sea", part of Metropolis 2022, by Lisa Brüning, Alfio Bonanno, Peter Flyvholm, Elisabet holager Lund, Adrian Skjoldborg)

[Sam Renseiw  2022, "Back to the Sea", 08'39'', 989MB, quicktime.mov, vimeo]

On pedestrian rhetorics & displacements

“What does travel ultimately produce if it is not, by a sort of reversal, 'an exploration of the deserted places of my memory,' the return to nearby exoticism by way of a detour through distant places, and the 'discovery' of relics and legends: 'fleeting visions of voodled countrysides,' 'fragments of music and poetry,' in short, something like an 'uprooting in one's origins ? What this walking exile produces is precisely the body of legends that is currently lacking in one's own vicinity; it is a fiction, which moreover has the double characteristic like dreams or pedestrian rhetoric, or being the effect of displacements and condensations. As a corollary, one can measure the importance of these signifying voodling practices (to tell oneself legends) as practices that invent spaces.”…

“Nothing disappears completely ... In space, what came earlier continues to underpin what follows ... Pre-existing space underpins not only durable spatial arrangements, but also representational spaces and their attendant imagery and mythic narratives…..”What we will criticize 'modern' visual eroticism for is its lack of genuine sensuality, a sensuality which implies beauty or charm, passion or modesty, power over the object of desire, and fulfilment.”

After a longer period of unsettelment due to the Vine app disparition, Sam Renseiw managed to (re)combine a poorly simulacrum site at IG. Speculating (and paraphrasing) some of the wise words by Lefebvre and De Certeau, Renseiw manged to compile  most of the voodled snipnets since January, into a longer, audio-visual puzzle piece. Enjoy.[Short voodle [vine]compilation # 16,39'30'', 3,2GB, Quicktime.mov, Vimeo] (Some of patalab02's works might be discussed at the upcomming ELO 17 international conference)

On the re-habitation of fiction /CC01

"…On the desolate border between the North and South State lies Ruby Town, a settlement populated mostly by the descendants and cult worshippers of Martha Rubin – a famous oracle, who has returned to the living. Tales of her occult gifts and cryptic visions draw great interest in the region, and residents and transients gather to witness her dark predilections. The villagers nurture their recovering oracle and perform rituals in her name, as their future existence is threatened by radiation poisoning in the village, which is said to cause infertility amongst the women. The adjoining North State military outpost supplies the community with food, water and amenities, as soldiers fallen from grace merge with the rugged villagers. Conflicts occur and pass, cards are played, and rumors grow and die - among the strange phenomena…"

Almost a decade after intense embedded voodling for some 18 hours in Signa's Circle Camp, Sam Renseiw reminiscences this fantastic inhabitation of Fiction, blurring the usual boundaries between space(s), audience and performer(s).

The footage is still extremely fresh. Recorded with a tiny, handheld Contax U4R camera, Renseiw had no idea of what would happen next, during all recording, piercing the 4th wall of theatricality… complete with continouus Williams boot-cringing. All is absurdly genuine, including the performers, as they just thought the Contax was a sound recording device. Few had any notion of digital video ten years ago. " Filming" needed some much larger apparatus was the common knowledge then.

Enjoy the re-posted first episode. More of the 11 next will be posted regularly on the vlog, trying to fulfill the promise of a fully operating Vlog by June. [re-post patafim # 476b,02'45'', 525MB,Quicktime/mov > Vimeo]

On thresholds and contrivances

Such is the contrivance of the Voodler. And such is also that of our knowledge. Instead of attaching ourselves to the inner becoming of things, we place ourselves outside them in order to recompose their becoming artificially. We take snapshots, as it were, of the passing reality….We may therefore sum up…that the mechanism of our ordinary knowledge is of a cinematographical kind… Voodling is the one art form where the voodler can see himself as the creator of an unconditional reality…. In voodles man’s innate drive to self-assertion finds one of its fullest and most direct means of realisation. A Voodle is an emotional reality, and that is how the audience receives it -as a second reality."

Paraphrasing some older Bergson text quotes, Renseiw resumes a bit of voodling activity; As as fresh piece of docu-voodling, a short visual sequence of architectural (urban)thresholds and contrivances is layed-out anew, in another duration, for better (intro)spection. View the short elongated visual above, underlayed with a (sublime) bout of de Tapol soundtrack. [patafilm # 875, 01'53'', 208MB,Quicktime/mov, Vimeo]

On counting to be in the world [vining]

“…What counts is to be in the world, the posture is immaterial, so long as one is on earth. To breathe is all that is required, there is no obligation to ramble Vining, or receive company, you may even believe yourself dead on condition you make no bones about it, what more liberal regimen could be imagined, I don't know, I don't imagine. No pomt under such circumstances in saying I am somewhere else, someone else, such as I am I have all I need to hand, for to do what, I don't know, all I have to do, there I am on my own again at last, what a relief that must be. Yes, there are moments, like this moment, when I seem almost restored to the feasible. Then it goes, all goes, and I'm far again, with a far story again, I wait for me afar for my story to begin, to end, and again this voice cannot be mine. That's where I'd go, if I could go, that's who I'd be, if I could be.”

One more. Compilation. Vine compilation, before it ends, or starts anew from January, that is. Samesame, but different Vines, as always. What seems eternal is ever changing, if one carefully follows. Most do not. Sam R does. Again and again. Keeping morsels of time [and space(s)] alive, somehow. Paraphrasing a Text for Nothing by Sam B… Enjoy the Vine compilation about nothing, really. Just time passing, sort of, in places. Sam R. goes there, and brings back tangible audio-visual memories. [Vine Compilation # 14, 760MB, Quicktime/mov, Vimeo]

On the [coming] end of a Language

“Plato, who proposed the theory, seems to have done so in order to rule that the value of Vine art is dubious. Since he considered ordinary material things as themselves mimetic objects, imitations of transcendent forms or structures, even the best video of a bed would be only an “imitation of an imitation.” For Plato, art is neither particularly useful (the video of a bed is no good to sleep on), nor, in the strict sense, true. And Aristotle’s arguments in defence of Vining do not really challenge Plato’s view that all Vines are elaborate trompe l’oeils, and therefore lies. But he does dispute Plato’s idea that Vine art is useless. Lie or no, art has a certain value according to Aristotle because it is a form of therapy. Vine Art is useful, after all, Aristotle counters, medicinally useful in that it arouses and purges dangerous emotions.”

Sam Renseiw, paraphrasing Benjamin, ruminating over the coming demise of Vine, casually compiled some summer Vines. [Vine Compilation # 13, 1.2GB, (!) Mp4, Vimeo.] Expect some more Vine (compilations)during the season break and before the next year on blogposts here. 

On the whole and On the parts

"There are four kinds of people in this world: cretins, fools, morons, and voodlers…Cretins don’t even talk; they sort of slobber and stumble…Fools are in great demand, especially on social occasions. They embarrass everyone but provide material for conversation…Fools don’t claim that cats bark, but they talk about cats when everyone else is talking about dogs. They offend all the rules of conversation, and when they really offend, they’re magnificent…Morons never do the wrong thing. They get their reasoning wrong. Like the fellow who says that all dogs are pets and all dogs bark, and cats are pets, too, therefore cats bark…Morons will occasionally say something that’s right, but they say it for the wrong reason…A Voodler is easily recognized. He is a moron who doesn’t know the ropes. The moron proves his thesis; he has logic, however twisted it may be. The voodler on the other hand, doesn’t concern himself at all with logic; he works by short circuits or recetly vine videos. For him, everything proves everything else. The voodler is all idée fixe, and whatever he comes across confirms his voodlings. You can tell him by the liberties he takes with common sense, by his flashes of inspiration, and by the fact that sooner or later he brings up Jean-Luc Godard …There are voodlers who don’t bring up Godard, but those who do are the most insidious. At first they seem normal, then all of a sudden…"

…they produce yet another vine compilation" As does Sam Renseiw, paraphrasing Umberto Eco the great (RIP)…"Who said that peace derives from the contemplation of order, order understood, enjoyed, realized without residuum, in joy and triumph, the end of effort? All is clear, limpid; the eye rests on the whole and on the parts and sees how the parts have conspired to make the whole; it perceives the center where the lymph flows, the breath, the root of the whys...." Enjoy the latest Renseiw vine- compilation, captured in tiny audio-visual chunks the past 6 months. [vinecompilation # 11, 26'37'', 957 MB, quicktime/mov, also on vimeo.]

On the metaphysics of compilations

 "Thus, then, are compilations produced; all other productions are called 'Vine-makings'. And all makings proceed either from art or from a faculty or from thought. Some of them happen also spontaneously or by luck just as natural products sometimes do; for there also the same things sometimes are produced without seed as well as from seed."…"The question might be raised, why some things are produced spontaneously as well as by art, e.g. health, while others are not, e.g. a house. The reason is that in some cases the matter which governs the production in the making and producing of any work of art, and in which a part of the product is present,-some matter is such as to be set in motion by itself and some is not of this nature, and of the former kind some can move itself in the particular way required, while other matter is incapable of this; for many things can be set in motion by themselves but not in some particular way, e.g. that of dancing. The things, then, whose matter is of this sort, e.g. stones, cannot be moved in the particular way required, except by something else, but in another way they can move themselves-and so it is with fire. Therefore some things will not exist apart from some one who has the art of making them, while others will; for motion will be started by these things which have not the art but can themselves be moved by other things which have not the art or with a motion starting from a part of the product."..."Therefore, as in syllogisms, substance is the starting-point of everything. It is from 'what a thing is' that syllogisms start; and from it also we now find processes of production to start."

While pondering on the sheer volume of the accumulated Vines from spring and sommer 2015, Sam Renseiw compiled the lot into one MegaVoodle, while paraphrasing part 8 of book VII of Aristotle's Metaphysics. Enjoy the lenghty compilation of max 6'' visual bites from - Hamburg, Kalkriese, Münster, Düsseldorf, Essen, Köln, Hombroich, Copenhagen, Bergen, Faxe Ladeplads, Ll.Elmue, Præstø, Nice, Rochebrune, Venice, Burano, by cliking on the above or on this link. [vinecompilation # 10, 47'58'', 1.2GB, quicktime/mov, Vimeo]

On voodling a(s) spectacle

 "The spectacle manifests itself as an enormous positivity, out of reach and beyond dispute. All it says is: "Everything that appears is good; whatever is good will appear." The attitude that it demands in principle is the same passive acceptance that it has already secured by means of its seeming incontrovertibility, and indeed by its monopolization of the realm of appearances."

 "Voodling is the antithesis of quotation, of a theoretical authority invariably tainted if only because it has become quotable, because it is now a fragment torn away from its context, from its own movement, and ultimately from the overall frame of reference of its period and from the precise option that it constituted within that framework. Voodling, by contrast, is the fluid language of antiideology. It occurs within a type of communication aware of its inability to enshrine any inherent and definitive certainty. This language is inaccessible in the highest degree to confirmation by any earlier or supracritical reference point. On the contrary, its internal coherence and its adequacy in respect of the practically possible are what validate the ancient kernel of truth that it restores. Voodling founds its cause on nothing but its own truth as critique at work in the present." 

Paraphrasing Debord (again), Sam Renseiw post a short moment of voodled spectacle, resuming the visual body-space-morphology investigations, further speculating on the various nature(s) of Open-Form manifestations. [patafilm # 871b, 68MB, 01'59'', quicktime/mov]

On closed spaces and open form(s)

"For the heart, life is simple: it beats for as long as it can. Then it stops. Sooner or later, one day, this pounding action will cease of its own accord, and the blood will begin to run toward the body's lowest point, where it will collect in a small pool, visible from outside as a dark, soft patch on ever whitening skin, as the temperature sinks, the limbs stiffen and the intestines drain.[…]The moment life departs the body, it belongs to death. At one with lamps, suitcases, carpets, door handles, windows. Fields, marshes, streams, mountains, clouds, the sky. None of these is alien to us. We are constantly surrounded by objects and phenomena from the realm of death."

Pondering on the phenomenologies of the formality of frozen fields in regards to freely unfolding (new) form openings, Sam Renseiw quotes a short passage from K.O Knausgaard's own struggle (Book 1) while unraveling the latest docu-voodle clickable above-with fine soundtrack from kres5jik underlay; [patafilm # 869, 05'31'', 186MB, Quicktime/mov, other version at Bliptv.

On [interior] species of spaces

…We uses our eyes for seeing. Our Field of vision reveals a limited space, something vaguely circular, which ends very quickly to left and right, and doesn't extend very far up or down..[…] Our gaze travels through space and gives us the illusion of relief and distance. That is how we construct space, with an up and a down, a left and a right, an in-front and a behind, a near and a far…

Recently trapped in a deserted northern farm-set piece, Sam Renseiw collected some vaguely circular footage in a recurring traveling interior panorama, while reminiscing of Perec (again)… Get a left-winged travel through time and space tinged by ambient fugue state by clicking on the icon above. [Patafilm # 868, 05'59'', 220MB, Quicktime/mov - other versions at Blip.tv]

On gaze at grips with a visible world

“It is no more natural and no less conventional to shout in anger or to kiss in love than to call a table 'a table'. Feelings and passional conduct are invented like words. Even those which like paternity seem to be part and parcel of the human make-up are in reality institutions. It is impossible to superimpose on man a lower layer of behavior which one chooses to call 'natural' followed by a manufactured cultural or spiritual world. Everything is both manufactured and natural in man as it were in the sense that there is not a word, not a form of behavior which does not owe something to purely biological being and which at the same time does not elude the simplicity of animal life and cause forms of vital behavior to deviate from their pre-ordained direction through a sort of leakage and through a genius for ambiguity which might serve to define man.”

“I discover vision, not as a "thinking about seeing," to use Descartes expression, but as a gaze at grips with a visible world, and that is why for me there can be another's voodling gaze.” ... Sam Renseiw paraphrases again Merleau-Ponty and his Phenomenology of Perception after a short visit to Qvarnström & Lagerwall's "Monument" at the 2015 Spring Exhibition in Charlottenborg Kunsthall. Enjoy the elongated deviated footage leakage by clicking on the icon above;  [patafilm # 867, 03'09'', 90.2MB, Quicktime/mov / Mv4, other formats at blip.tv]

On the space of waiting

 " You have changed lately. You don’t know whom you can trust anymore. Nothing seems to be, as you know it. You are confused. You need help. Therefore you have been called for observation in the psychiatric waiting place, the Laguna, for a five hour psychological screening…. The Laguna, is a temporary residence where psychiatric patients can stay for up to a year. The institution houses approximately 25 non-violent patients primarily of Non Danish European descent…. During your stay you will participate in different tests and activities with your co-patients….Waiting time may occur..."

Embedded (once more) in a new, challenging performative setting, Sam Renseiw managed to capture some snippets of (under-cover) footage under the duress of a five hours, continuous psychological screening session. View the short docu-voodle mash-up by cliking here or on the icon above. [patafilm # 866, 02'17'', 69MB, Quicktime/mov] 

On voodling and the beach man's sandy burden

“Hutte, for instance, used to quote the case of a fellow he called "the beach man." This man had spent forty years of his life on beaches or by the sides of swimming pools, chatting pleasantly with summer visitors and rich idlers. He is to be seen, in his bathing costume, in the corners and backgrounds of thousands of holiday snaps, among groups of happy people, but no one knew his name and why he was there. And no one noticed when one day he vanished from the photographs. I did not dare tell Hutte, but I felt that "the beach man" was myself. Though it would not have surprised him if I had confessed it. Hutte was always saying that, in the end, we were all "beach men" and that "the sand" - I am quoting his own words - "keeps the traces of our footsteps only a few moments.”

Further compiling snipnets of quotidian (obsessive-compulsively, but with a certain research attidude ) Sam Renseiw gathers the latests (short-cut)imagery into the long awaited late-summer / fall vine compilation, feeling like an unspecified "beach man", while paraphrasing Patrick Modiano… Enjoy the extended compression by cliking here or on the image above. (Vinecompilation # 7, 19'29'' 482MG, Quicktime/mov)

On Vining Ad Herennium manner

"Now nature herself teaches us what we should do. When we see in every day life things that are petty, ordinary, and banal, we generally fail to remember them, because the mind is not being stirred by anything novel or marvellous. But if we see or hear something exceptionally base, dishonourable, unusual, great, unbelievable, or ridiculous, that we are likely to remember for a long time. Accordingly, things immediate to our eye or ear we commonly forget; incidents of our childhood we often remember best. Nor could this be so for any other reason than that ordinary things easily slip from the memory while the striking and the novel stay longer in the mind. A sunrise, the sun's course, a sunset are marvellous to no one because they occur daily.

We ought, then, to set up Vines of a kind that can adhere longest in memory. And we shall do so i f we establish similitudes as striking as possible; if we set up images that are not many or vague but active (imagines agentes); if we assign to them exceptional beauty or singular ugliness; if we ornament some of them, as with crowns or purple cloaks, 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 or smeared with red paint, so that its form is more striking, or by assigning certain comic effects to our images, for that, too, will ensure our remembering them more readily. The things we easily remember when they are real we likewise remember without difficulty when they are figments. But this will be essential-again and again to run over rapidly in the mind all the original places in order to refresh the images."

Paraphrasing a passage from Ad Herennium, Sam Renseiw compiled an ever growing amount of recent Vines into a nearly half-hour Voodle chronological pêle-mêle of exeptional beauty (also inserted, shorter moments of singular ugliness) for subsequent scrutiny and visual aide-memoire. Enjoy. (Vinecompilation # 6, 24'10'', 601MB, Quicktime/mov, Vimeo)

On Vining as space-time continuum

vinecompilation # 5 from sam renseiw on Vimeo.

"Synaesthetic Vining is a space-time continuum. It is neither subjective, objective, nor nonobjective, but rather all of these combined: that is to say, extra-objective. Synaesthetic and psychedelic mean approximately the same thing. Synaesthesis is the harmony of different or opposing impulses produced by a work of art. It means the simultaneous perception of harmonic opposites. Its sensorial effect is known as synaesthesia, and it's as old as the ancient Greeks who coined the term … Any dualism is composed of harmonic opposites: in/out, up/ down, off/on, yes/no, black/white, good/bad. Past aesthetic traditions, reflecting the consciousness of their period, have tended to concentrate on one element at a time. But the Paleocybernetic experience doesn't support that kind of logic. The emphasis of traditional logic might be expressed in terms of an either/or choice, which in physics is known as bistable logic. But the logic of the Cybernetic Age into which we're moving will be both/and, which in physics iscalled triadic logic. Physicists have found they can no longer describe phenomena with the binary yes/no formula but must operate with yes/no/maybe."

Quoting/paraphrasing from Youngblood's seminal "Expanded Cinema", Sam renseiw extrapolates further via a newly compiled condensation of onehundredandsixty Vines from spring 2014 (February - May), giving patalab viewers new insights into the mundanities of recorded quotidian via Vine. (vinecompliation # 5, , 14'44'', 365 MB, Quicktime/mov > at Vimeo)

On wabi-sabi distortions and kimonos

" Contrary to the Romantic belief that we each settle naturally on a fitting idea of beauty, it seems that our visual and emotional faculties in fact need constant external guidance to help them decide what they should take note of and appreciate. 'Voodle' is the word we have assigned to the force that assists us in identifying which of our many sensations we should focus on and apportion value to.”

"My experience is what I agree to attend to. Only those items which I notice shape my mind…." Indeed, quotes Sam Renseiw, while having paraphrased de Botton further up on this post, regarding the matter of re-viewing chopped-up kimono footage from last summer, refashioned wabi-sabi like into a parachuted, late docu-voodle. Enjoy. [ patafilm # 862,03.41'', 61MB, Quicktime/mov, other versions on Bliptv ]

Of macro distortion and didactic interior

"…In my Voodling I am acting as a map maker, an explorer of psychic areas, a cosmonaut of inner space, and I see no point in exploring areas that have already been thoroughly surveyed…Thus, your mind will answer most questions if you learn to relax and wait for the answer.."

Paraphrasing Burroughs (a few days after the centenary), Sam Renseiw concocted snippets of left-over interior footage from last summer into some cosmonauting spread of inner spaces… Enjoy meditating on the question(s). [Patafilm # 863, 02'59'', 58 MB, Quicktime/mov - other versions at Bliptv]

On momentary pop_up(s)

"After their first brief, yet inspiring encounter in 2011 at the Australian festival Dance Massive, the artists Luke George (AU), Miguel Gutierrez (US), Heine Avdal (NO) and Yukiko Shinozaki (JP) meet again at the Meteor 2013 festival in Bergen (NO). The artists will follow the festival day by day, and prepare the public some short and unannounced performative appetizers or digestives. Watch your back!" 

Just passing by, anyway, Sam Renseiw manages, nevertheless, to capture some re-located, (quite) interactive  visual spoken word field_works by Heine and Yukiko, just to exist again, in best angelus modus. [patafilm # 860, 02'58'', 55MB, Quicktime/mov- Bliptv version here)

Are we not drawn onward to new era ?

 1/ "A man, a plan, a canoe, pasta, hero's, rajahs, a coloratura, maps, snipe, percale, macaroni, a gag, a banana bag, a tan, a tag, a banana bag again (or a camel), a crepe, pins, spam, a rut, a Rolo, cash, a jar, sore hats, a peon, a canal - Panama! "

2/ "His flack: late no-no's, tits, a cow. Two-cow, to tenor of God! A sin is a sign, ignoble udder-cases! La femme fatale gnawed at a phone-post, also lost call, eh? She'll act solo, slats open. Oh, pat a dew-angel at a femme false. Sacred duel, bonging is a sin; is a dog? For one to two-cow two, cast it so none talk calfs!"

Dabbling in palindromic unrest these days, Sam Renseiw concotted a short palindromic voodle (from a somewhat recent, yet allready bygone spring's phonefootage batch). View the pull by clicking on the image above, or view .m4v version via blip.tv here. [patafilm # 859, "forward anomyn", 03'10'', 46MB, Quicktime/mov)