On circling an internalized play

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"The Silent Retreat takes place in a circular formed dramatic space, lived in by the artist and two actors. Doused in a violet light and sparsely furnished, a psychodrama without a manuscript starts. Communication and social interactions become internalized, as there is no direct interpersonal contact, the performers find themselves in an environment that emphasizes their ‘bodily presence’. Their internalized thoughts and words are expressed through digital mediation, delayed and disrupted."

While visiting Merging Grounds, Sam Renseiw accumulated further footage of body and space morphologies. View the first docu-voodle by clicking here or on the links above.(patafilm # 328, 03'52'',87Mb, Quicktime/mov - other versions at Bliptv)

Today's Bonus Lumiere Video features a quiet dance. (lum#318, "risk reclaim entertain", 01'00'', 22MB, Quicktime/mov)

On voodling negotiable panoramas

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"...There is a hint of complicity hovering in the air: the refinement of the taste buds and especially of the olfactory organs has its moments of weakness, of loss of class, when the cheeses on their platters seem to proffer themselves as if on the divans of a brothel. A perverse grin flickers in the satisfaction of debasing the object of one's own gluttony with lowering nicknames: crottin, boule de moine, bouton de calotte.[...]The elaborate and greedy order that he intended to make momentarily slips his mind; he stammers; he falls back on the most obvious, the most banal, the most advertised, as if the automatons of mass civilisation were waiting only for this moment of uncertainty on his part in order to seize him again and have him at their mercy..."

Paraphrasing Calvino- somehow cheesyly, Sam Renseiw proceeds to amalgamate footage from three recently visited installations/performances, creating a peculiar spatial mash-up with appended soundtrack. View excerpts from TNT's KAFAK (aka FAKAK, aka AKFAK), Bricks of Enlightenment and your negotiable panorama by clicking here or on the links above. (patafilm # 758,04'24'', 54MB, Quicktime/mov - other versions at Blip.tv)

Today's Bonus Lumiere Video features a more profane, rolling installation.(Lum # 262, "autobahn busride" 01'00'', 12MB, Quicktime/mov)

On docu-voodling bits of temporality

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"...The more different perspectives and diversified expertise, experience and strategies that fill up the space, the more impossible it gets for one identity to claim power over the space and it’s representations of a dominant national narrative, thereby allowing a temporary transformation of a national stage into a public meeting room..."

Having missed the movie night, the arabic lesson, and the juridical counseling for asylum seekers, Sam Renseiw nevertheless managed to immerse in "The shape of things to come, Kookenhagen in Copenhagen, Vampire performance talk, Olsson's kronkiting", and Krakel kompagniet's "Motherf.....& father figures ". Click here or on the links above for a short un-didactig glimpse of the evening's happening(s) (docu-voodle, 03'36'', 52MB, Quicktime/mov - other versions at Blip.tv) More Londonian back-logged voodles next week, and one might even expect kilted stuff by late December.

Today's Bonus Lumiere Video features a more mercantile, pre-set show.[Lum # 240,"Xmas window 1" 00'59'', 12 MB, Quicktime/mov)

On voodling at level eight_0.6

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" We had the impression of having all ready lived all that. And our words seemed to stop short in the traces of other words from before. We paid some attention to what we were doing, but much more to sense the differences that meant that our current actions were in the present, and that similar actions had been of the past...Poetry resembles voodling. Some works will captivate you when you stand embedded very closely and others if you are at a greater distance. This one prefers a darker vantage point, that one wants to be seen in the light since it feels no terror before the penetrating judgement of the critic. This pleases only once, that will give pleasure even if we go back to it ten times over"

Continuing the close escort of the (escalating) events in The Oracle's Boat, Sam Renseiw toggles between the poesis and noesis of reality and fiction....Ut Voodle Poesis. View excerpts of the recording(s) in episode six (of a total of 8) of patalab's mini-docu-soap, with an X-rated warning for the faint-hearted, by clicking here or on the links above. [patafilm # 713, [The Oracle's Boat/Level: 08/0.6], 03'44'', 56Mb, Quicktime/mov - other versions for Blip.tv)

On voodling at level eight_0.5

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" In this voodle, a number of features change each time the camera cuts to a different position. Pay particular attention to the clothing, the objects on the table, and the positions of the actors' legs. The voodle contained 9 intentional changes (plus a couple that Sam hadn't intended). Of the 10 naive observers who viewed this film, only 1 claimed to notice a single change. That is, out of a possible 90 detections, only 1 was noticed (and that one was imprecisely described). Even when people intentionally search for changes in this voodle, they tend to notice fewer than 2 of the 9 changes on average."

Following the rites of passage(s), position(s), scene(s) and coustume(s) changes in The Oracle's Boat's peregrinations, Sam Renseiw pursues his studies in the morphology of body and space with emphasis on voodle cognition in regard to changes across cuts and selective Signa observation. View the deroulements en cuisine by clicking here or on the links above. [patafilm # 712, [The Oracle's Boat/Level: 08/0.5], 03'04'', 45.9MB, Quicktime/mov - other versions at Blip.tv)

On voodling at level eight_0.4

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" In a series of recent voodle studies, we showed that the detection of changes to a spatial array of real objects is differentially affected by display rotations and voodler movements. When the array rotates relative to a stationary voodler, change detection accuracy is reduced. However, when he voodler moves relative to a stationary array (with the same view change), performance is less affected by the view change. This pattern of results is unaffected by such factors as the visibility of background information, the amount of information specifying the view change, and the degree of active control over the view change. However, performance is disrupted when viewers are disoriented as they move relative to the stationary array. These findings suggest an important role for extra-retinal information in updating spatial representations across voodler movements. Furthermore, they suggest that representations of spatial arrays are largely view-dependent in this task, although recognition is largely view-independent when observers have sufficient extra-retinal voodle-information to update their representation as they move relative to the array."

Continuing his ongoing investigations into the morphology of body and space in voodling, Sam Renseiw further dwelt on the topic of "Person and Object Changes Across Cuts in a Voodle". View the fourth episode of patalab's fabulous docu-soap-voodle of "The Oracle's Boat" by clicking here or on the links above. (patafilm # 711, [Oracle's Boat/Level: 08/0.4], 03'36'', 59.2MB, Quicktime/mov - other versions at Blip.tv)

The cartographers

The philosopher Wilfred Sellars once characterized philosophy as aiming "to understand how things, in the broadest possible sense of the term, hang together, in the broadest possible sense of the term" . Applied to the philosophy of cognitive science, this means that one role of philosophers is understanding and describing how all the various elements of cognitive science fit together (or conflict, as the case may be). In doing this they produce large-scale conceptual maps of the discipline; we can thus think of philosophers and/or acrobats as the cartographers of cognitive science.

A hung situation, fluctuating. A pataphilosophical visual by Sam R. Enter here, Or join the acrobats in the frame.