The intimacy of the closed chamber

…Can we not see in such erotic scenarios an example of the rare confluence of antithetical oneiric spaces, where the intimacy of the closed chamber and the presence of the distant, disembodied, recorded voice combine to create an oneirically overdetermined architecture? Such is a videoclip where both detached, Apollonian spectatorship and participatory Dionysian drunkenness coexist and coalesce…

A short Sam Renseiw trailer for a recent new blog by Zoe Tati, distinguished photographer and documentarist, working with a finely tuned, subtle hunch for found images and related paraphernalia. Click here or on the icon to get to the stop beat… (1,1Mb, mov/quicktime)

Emma Kunz's basketball

Both a healer and an artist, Emma Kunz created hundreds of drawings which she considered to be images of energy fields from which she would formulate diagnoses of her patients. After working for the painter and art critic Jacob Friedrich, she began creating a series of complex drawings made on graph paper. Using a pendulum to plan the structure of her drawings, she would complete each work in one continuous session. What is less know, however, is the fact that Emma exelled in basketball.

Enjoy a short-circuiting view of this Renseiw anaphoric visual here, or try to snach the ball above

The idea of imageless Thoughts

" The gestalt notion "figure-ground phenomenon" refers to the characteristic organization of perception into a figure that 'stands out' against an undifferentiated background. What is figural at any one moment depends on patterns of sensory stimulation and on the momentary interests of the perceiver. Poets may rely on our habitual figure-ground organisations in extra-linguistic reality to exploit our flexibility in shifting attention from one aspect to another so as to achieve certain poetic effects by inducing us to reverse the habitual figure-ground relationships."

Sam Renseiw framed a particular figure-ground relationship; From a recent CITA workshop in Copenhagen, performed by Carol B. Grounding by Mette RT, sound-cut-up overlay by Casper BC. Focus in here, or click on the figure-ground above.

the hesitant art of watching films

" Renseiw (perhaps without wishing to) has enriched, by means of a new technique, the hesitant and rudimentary art of watching films: the technique is one of deliberate anachronism and erroneous attributions. This technique, with its infinite applications, urges us to run through Citizen Cane as if it were filmed after Breathless and to view Belle de jour by Luis Bunuel as if it were by Luis Bunuel . This technique would fill the dullest films with adventure. Would not the attributing of The Big sleep to Alfred Hitchcock or Orson Welles be a sufficient renovation of its tenuous spiritual counsels" Sam Renseiw , Director of “ Bande à part "
An Unusual Sam R. short repo-flick, directly from a Jørgen U. original (re)viewing at Louisiana(DK). Step in here or click on the picture to surf the rooftops of the Isfahan bazaar.

transition to attentive recognition

…” Also a memory, but a memory profoundly different from the first, always bent upon action, seated in the present and looking only to the future. It has retained from the past only the intelligently coordinated movements which represent the accumulated efforts of the past ; and it recovers those past efforts, not in the memory-images which recall them, but in the definite order and systematic character with which the actual movements take place. In truth, it no longer represents our past to us, it acts it ; and if it still deserves the name of memory, it is not because it conserves bygone images, but because it prolongs their useful effect into the present moment….”

Smile, you know . Yes, it is her, indeed. Re-collected by Sam R., fresh from the original location. Go into the matter here, or consult Henri B. on the subject.