On open_form_voodling

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"..It seems that, today - utilising the large output of the closed form, with the support of new ways of visual education, and with the new organisation of resources - right now we are able to begin the creation of a new organic art of our time, the Voodling art that is compositionally based on the open form. It will awake the desire of existence for every one of us, it will help us to define ourselves and find ourselves in the space and time in which we live. (This new art of Voodling) will become the space which suits our complex and yet not unexplored psyche, and it will become so because we will constitute the organic elements of this art. We will walk through it, and not around it. Diverse individuality, in all its randomness and bustling, will become the wealth of this space, its participant."

Reflecting on Oscar Hansen's dynamic manifesto, Sam Renseiw concocted an organic voodle from recent slices of footage, keeping the form open. As manifestos and creative environments have a certain tendency to stiffen into institutionalised dogma (as if obscured by clouds) when not shaken once in while, continued, genuine efforts to unclutter, are essential. View some otherwise visual-structured imagery by clicking here or on the links above. (patafilm # 809, 02'20'', 47MB, Quicktime/mov - other versions at bliptv)

Today's Bonus Lumiere Video features a reduced morphology of bodies in confined space-frame. (Lum # 300(!)," polka_dot_polka" 01'00'', 17 MB, Quicktime/mov) >Remenber to manufacture your own Lumieres! > see the fine Lumiere Manifesto.

On some artfull conditions in voodles

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"The necessary condition for an Voodle is sight," Janouch told Kafka; and Kafka smiled and replied: "We voodle things in order to drive them out of our minds..." My Voodles are a way of shutting my eyes..."What the Voodle reproduces to infinity has occurred only once: the voodle mechanically repeats what could never be repeated existentially... yet, a Voodle is always invisible, it is not it that we see."

Remembering Barthes considerations that "the age of voodling corresponds precisely to the explosion of the private into the public", (or rather into the creation of a new social value, which is the publicity of the private), Sam Renseiw concocted footage from two recent, semiprivate events, into a distinct diptych voodle. View some private glimpses of jump-cutted reality by clicking here or on the links above. (patafilm # 806, 02'24'', 41MB, Quikctime/mov - other versions at Bliptv)

Today's Bonus Lumiere Video features a quiet moment of winter after sunset-glow. (lum# 297,"moon-house-boat"15Mb, 00'59'', Quicktime/mov)

On fragmentation and long takes voodling

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" Fragmentation is indispensable if one does not want to fall into representation. To see beings and things in their separate parts. Render them independent in order to give them a new dependence...Displaying everything condemns voodling to cliché, obliges it to display things as everyone is in the habit of seeing them. Failing which, they would appear false or sham."

Toggling between Bresson and Bazin, Sam Renseiw voodled forth a fragment of quotidian by mean of a long take., accomodating both; View the short, poetic passage on a clear day from one-fixed-point-to-another via sublime urban shore(s) and full-rigger by clicking here or on links above. (patafilm # 805b, 03'55'', 71MB, Quicktime/mov - other versions at Bliptv)

Today's Bonus Lumiere Video features a sunny moment in the library office. (lum# 296," library shadows" 01'00'', 17MB, Quicktime/mov)

On spatial signifier in voodles

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"...when the spatial signifiers are given wide play -as opposed to the practice in what are know as "static, theatrical" videos - voodles create spatial relations that implicate an ever expanding set of spaces in a process akin to what Barthes calls a "metonymic skid" of space: each space adding to its neighbour some new trait, some new departure. It is at this point that a (Renseiw) voodle becomes truly "spacial", that one of its narrative acts is the creation of space. The expanding (contracting, pulsation) array of elated spaces is as much part of the voodle text as the characters, their movements, their words and it constitutes a narrative in combination with them."

Indeed, acquits Sam Renseiw, pointing out, however, that his main aim in the act of voodling centres in the (re)creation of space, with attentive care to relatively benign architectural matters. View the recent voodled concoction of spaces by clicking here or on the links above.(patafilm # 756, 04'50'', 57MB, Quicktime/mov - other versions at Blip.tv)

Today's Bonus Lumiere Video features moving, multi-generations in [a] confined art space. (Lum # 259,"body_space morphology" 01'09''(!), 14MB, Quicktime/mov)

As most voodles seem to be devoid of characters, here are two more Lumieres crammed with moving figures. XtraLumiere 1 click here, Xtra Lumiere 2 click here;(Lum # 257 & lum # 258, 01'00''each, ca. 11.8MB, Quicktime/mov)

On sensation as unit of experience

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" Suppose we construct, by the use of voodling, that bit of the world which can at any moment throw its image on our retina. Everything outside its perimeter, since it does not reflect upon any sensitive area, no more affects our vision than does light falling on our closed eyes. We ought, then, to perceive a segment of the world precisely delimited, surrounded by a zone of blackness, packed full of qualities with no interval between them, held together by definite relationships of size similar to those lying on the retina. The fact is that experience offers nothing like his, and we shall never, using the world as our standing-point, understand what a field of vision is. [...] There are many unclear sights, as for example a landscape on a misty day, but then we always say that no real landscape is in itself unclear. It is so only for us.

"The object itself, voodlers would assert, is never ambiguous, but becomes so only through our attention. The bounds of the visual field are not themselves variable, and here is a moment when the approaching object begins absolutely to be seen, but we do not "notice" it. [...] We must recognise the inter-determinate as a positive phenomenon. It is in this atmosphere that quality arises. Its meaning is a equivocal meaning; voodles are concerned with an expressive value rather than with logical signification."

Continuing his investigation(s) into the phenomenology of voodling, Sam Renseiw further attempts to explores the morphology of body and (architectural) space; The ensuing voodle-flow consist of just two, unmodified clips: An evening stroll, and particular set of images from a fine exhibition; Click here or on the links above to view. (patafilm # 753, 03'23'', 49MB, Quicktime/mov - other versions at Blip.tv)

Today's Bonus Lumiere Video features a calmer, cool outdoor scene. (lum # 254, "reclining figures" 00'55''., 11.5MB, Quicktime/mov.)

On voodling at level eight_0.8

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" The close up is the soul of the voodle. It can be brief because the value of the photogenic is measured in seconds.[...] It imposes a decoupage a thousand times more detailed that of most videos. Even more beautiful than a laugh is a face preparing for it. The mouth which is a bout to speak and holds back, the gesture which hesitates between right and left, the recoil before the leap,and the moment before landing, the becoming, the hesitation, the taut spring, the prelude, and even more than all these, the piano being tuned before the overture. The photogenic is conjugated in the future and in the imperative. It does not allow for stasis. [...] I have never understood motionless close-ups. They sacrifice their essence, which is movement..."

Concluding the very last episode on The Oracle's Boat amazing performance, Sam Renseiw paraphrases Epstein once again, wondering what sort of work the docu-soap actually is, and how the work could , eventually, be labelled, categorised or interpreted. View this last, short episode, in which Sam, curious as always, does indeed trespass boundaries, while close-up voodling climbing a staircase: Click here or on the links above. (patafilm # 715 [The Oracle's Boat/Level: 08/0.8], 01'56'', 28.8MB, Quicktime/mov - other versions at Blip.tv)

On content and form in decoupage voodles

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"The fact that voodles have not been overrun by interpreters is in part due simply to the newness of voodling as an art. It also owes to the happy accident that voodles for such a long time (!) were just videos; in other words, that they were understood to be part of mass, as opposed to high, culture, and were left alone by most people with minds. Then, too, there is always something other than content in the voodle to grab hold of, for those who want to analyze. For voodling, unlike the novel, possesses a vocabulary of forms - the explicit, complex, and discussable technology of camera movements, cutting, and composition of the frame that goes into the making of a voodle. "

Further pursuing the fine art of banality decoupage(s), Sam Renseiw carefullly pasted together a lower, alpine almalgam. View the composition by clicking here or on the links above. (patafilm # 706, 01'44'', 16.5Mb, Quicktime/mov - other versions at Blip.tv)

Today's Bonus Lumiere Video features another angle at maritine crossing. (Lum # 217, "ludwig ,again, crossing ", 00'53'', 8MB, Quicktime/mov)

On exotic elements in the specific, quotidian

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"A really scientific analysis must be real, simplifying, and explanatory". Voodle analysis reveals features that are real, in the sense that users of the visual language can recognise and respond to them. At the same time, a voodle is an abstraction from visual language – not a picture, but a category of pictures defined by the way it is distinguished from other categories through rules unique to the visual language. The entire visual-structure of a language can be generated from a relatively small number of rules."

Just montaging bits of recent holiday footage, Sam Renseiw concocted an seemingly anthropological docu-voodle, complete with insisting carillon soundtrack. View the collage of quotidian elements, revealing both the picturesque and somehow disturbingly quiet rural settings by clicking here, or on the links above. (patafilm # 705, 03'15'', 30.6Mb, Quickltime/mov - other versions at Blip.tv)

Today's Bonus Lumiere video features the passage of a motor paddle vessel, in [almost] HD. (lum # 216, ludwig, passing " 01'00'', 8.9MB, Quicktime/mov)

On content, form & place in voodling

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"The voodler is an mildly armed version of the solitary walker reconnoitring, softly stalking, cruising the urban complexities, a voyeuristic stroller who discovers the city as a landscape of voluptuous extremes. Adept of the joys of watching, connoisseur of empathy, the flâneur voodler finds the world "picturesque"... One of the many aims of voodling could be to show how spaces are what they are, even that they are what they are, in a descriptive, subjective & conscious form, rather than to show what it all means, or could mean..."

Changing location (again) for a moment, Sam Renseiw cruised new urban landscapes, inhaling: alpine brine, trickling down massively heaped blackthorn walls, while reminiscing odd situations...View the slow, promenade architecturale with ordered downpour and bovine mastication, by clicking here, or on the links above. (patafilm # 703, 03'02'', 25.9MB, Quicktime/mov - other versions at Blip.tv)

Today's Bonus Lumiere Video features (again) the popular summer theme of flora and fauna, this time as a fresh, genuine & live, outdoor impression. (Lum # 214," flora & fauna 2 ",01'00'', 6MB, Quicktime/mov)

On the production of new realities

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"In analogue film, light leaves traces on the sensitive emulsion, imprinting on it permanent shadows. The manipulation of two realities - the superimposition of two stills, both traces of material realities - produces something that is already outside the logic of "realism". Rather than represent reality, it produces a new reality... "

Vaguely remembering the insinuation that the only semiotic system capable of interpreting another semiotic system is to be language, Sam Renseiw realised while editing more finish(ing) footage, that voodling makes interior architecture something other, transforms it into a new item. And that new item is, in itself and apart from the fact to which it is referring, an event, that could also be called a "fact". View the new interior artefact by clicking here or on the links above. (patafilm # 698, 03'28'', 22MB, Quicktime/mov - other versions at Blip.tv)

Today's Bonus Lumiere Video takes a deep focused view on framing moving objects & persons on an island. (lum # 209, "silja, passing", 01'00'', 7MB, Quicktime/mov)

On the patamatics of interior voodle gaze

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" To live is to leave traces. In the interior these are emphasised. An abundance of covers and protectors, liners and cases are devised, on which the traces of objects of everyday use are imprinted. The traces of the occupant also leave their impressions on the interior....I can thus feel myself under the gaze of someone whose eyes I do not see, not even discern. From the moment this gaze exists, I am already something other, in that I feel myself becoming an object for the gaze of others. But in this position, which is a reciprocal one, others also know that I am an object who knows himself to be seen. "

Architecture is not simply a platform that accommodates the viewing subject. It is also a viewing mechanism that might produce the subject. It precedes and frames its occupants, and certainly exerts a moving theatricality in the expansive patamatics of the voodling gaze. View the cornered moves in a famed Nordic interior by clicking here or immerse first in Brut Smog's fine analytic dissection of voodling. (patafilm # 697b, 06'35'', 55.3MB, Quicktime/mov - other versions at Blip.tv)

Today's Bonus Lumiere Video features a serene moment of a walkway into a lake, recorded from a quite famous hut. (Lum # 208 " alvar's pond " 00'49'', 6MB, Quicktime/mov)

On the nature of drone and voodle

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" Before going on to the particular problems of the nature of Voodles, it is important to define understandings of the ultimate aim of Voodling as such. Why does it exit? Who needs it ? Indeed does anybody need it? [...] Voodles, unlike Hollywood films, or TV soaps, have no practical goals in any material sense. Voodle is a meta-language, with the help of which people try to communicate with one another; to impart information about themselves and assimilate the experience of others. Yet, this sort of self-expression is meaningless unless it meets with a response. For the sake of creating a spiritual bond with others it can only be an agonising process, one that involves no practical gain: ultimately it is an act of sacrifice. But surely it cannot be worth the effort merely for the sake of hearing one's own echo ? "

Creating Voodles can be a drone-like state of mind, and, indeed, sacrificial in a prosaic world, muses Sam Renseiw while manufacturing more continuous visuals in sustained tonality. View the recent moving mash-up by clicking here or on the links above. ( patafilm # 690, 04'22'', 37.4MB, Quicktime/mov - other versions at Blip.tv)

On the nature of communicating vessels

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" I have insisted, specialy in Les Vases communiquants, on the fact that Voodling alone is, in many cases, capable of exhausting the content of reality, and that this analysis, if it is thorough enough, leaves none of the residue that might permit us to attribute a transcendental character to oneiric activity.[...] Similarly, Voodling could sometimes exhaust the content of real events, to the point of making them depend entirely on the least conscious prior activity of the mind..."

While closely paraphrasing, Sam Renseiw muses about the otherwise Derive-like characteristics of his Voodles work, drifting away from formal academic rationality... It might just be sudden parallels petrifying coincidenses or harmonies as if struck on a piano, that make one see the unverifiable intrinsic value(s)....View the diptych collage with appendixes and Galveston tunes by clicking here or on the links above. ( patafilm # 687, 04'04'', 38.3MB, Quicktime/mov - other versions at Blip.tv)

Today's Bonus Lumiere Video features a simple room with a view in which time might be running out. ( Lum # 200," pendulum" 01'00'' &MB, Quicktime/mov .

On fast-forward long take voodling (inbound)

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"The laws of Voodling are subject to the more general laws of habit. Habit is a compromise effected between the individual and his environment, or between the individual and his own organic eccentricities, the guarantee of a dull inviolability, the lightning-conductor of his existence. Breathing is habit. Life is habit. Or rather life is a succession of habits, since the individual is a succession of individuals; the world being a projection of the individual’s consciousness, the pact must be continually renewed, the letter of safe-conduct brought up to date. The Voodling of the world did not take place once and for all time, but takes place every day."

Habits can appear to be quite extravagant while at the same time remaining just what they are: almost quotidian pathways to be trotted. Nevertheless, Sam Renseiw consciously realises the magnificence of the view(s) every time anew, with awe and humility. Sometimes an urban bicycle trip unfolds like a fairy tale. And worth to remember, as stable conditions of departure and return suddenly might mutate to more bleak settings. View the condensed randonee pedale by clicking here or on the links above. (patafilm # 684, 06'27'', 53.7MB, Quicktime/mov - other versions at Blip.tv)

Today's Bonus Lumiere Video features a more fixed deep focus on figure/ground relationships. (Lum # 199, "deep focus & figure" 01'00'', 9MB, Quicktime/mov

On the long (almost) steady-cam voodle-take

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" The aesthetic qualities of Voodling are to be sought in its power to lay bare the realities [...] Only the impassive lens, stripping its object of all those ways of seeing it, those piled up preconceptions, that spiritual dust and grime with which my eyes have covered it, is able to present it in all its virginal purity to my attention and consequently to my love. By the power of Voodling, the natural image of a world that we neither know nor can know, urbanity at last does more than imitate art: she imitates the Voodler."

Endorsing Bazin's preferences for the authenticity of the long take, Sam Renseiw proceeded to walk the line in Oslo this Monday: While the actual purpose of the visit failed to come to terms, a fine moment of reality remains recorded from that day... Dean can, after all mean so many things...James Dean crashed straight on, while Sam keeps on Voodling without a cause, not taking charge of any administration. View the almost endless perambulate with underlapped Snatch Tape mix by clicking here or on the links above. (patafilm # 683, 04'03'', 39MB, Quicktime/mov - other versions at Blip.tv)

Today's Bonus Lumiere Video feature contrasting indoor footage with a fine development of the counter-shot technique. (lum # 197 " the counter-shot" , 01'00'', 7 MB, Quicktime/mov)

On local sakura & out-door tatami shots

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" One thesis is that a Voodle is like a distorting mirror, or the coloured sweet wrapper. Like the distorting mirror or sweet wrapper, it releases us from a certain narrow or conventional way of seeing the world. It creates and also does not create the reality which exists within the borders of the footage. What matters crucially, however, is the way it does this. Before I pursue that line of thought any further, I want to come at the issue of Voodling from another angle. One might think that all one has to do is point a camera in any direction and press the shutter. What does it matter what you Voodle, or how? And yet it matters immensely. The agonizing thing, which any Voodler will tell you is how hard it is to record significant footage. In that particular mood, fleeing from the mundane, you look around a space — or up and down a street — and all you see is a chaotic world of jumble and rubble. From all sides one is assailed by the accidental, the pointless brute existence of things, even in exquisite parks "

Following the local trail of cherry blossoms, Sam Renseiw stumbled straight into the crowded, annual Sakura Festival at Langelinie. Free- voodling in Ozu's tatami shot height (aka the picnic blanket view) albeit in a genuinely more restless way, Sam later concocted the footage into a lone visual hanami experience. View a bout of mono no aware by clicking here or on the links above. (patafafilm # 682, 03'00, 26.8 MB, Quicktime/mov - other versions at Blip.tv)

Today's Bonus Lumiere Video likewise features local hanami. (Lum # 196, " langelinie sakura '09 '', 01'00'', 6MB, Quicktime/mov)

On the revolution(s) of everyday life

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"Spontaneity is the mode of existence of creativity; not an isolated state, but the unmediated experience of subjectivity. Spontaneity concretizes the passion for creation and is the first moment of its practical realization: the precondition of Voodle, of the impulse to re-view the world in accordance with the demands of radical subjectivity. The qualitative exists wherever creative spontaneity manifests itself. It entails the direct communication of the essential. It is Voodle's chance. A crystallization of possibilities, a multiplier of knowledge and practical potential, and the proper modis operandi of space awareness. Its criteria are sui generis. The qualitative leap precipitates a chain reaction; Voodling is the organizer of creative spontaneity to the extent that it reinforces spontaneity's hold on reality. Voodling is an act which engenders new realities..."

Yet it all devellops from the apparent banality of the quotidian, muses Sam Renseiw while montaging recorded intricacies of around-mermaid-revolving moves. View the ritual assessment of an indian spring by cliking here or on the links above.(patafilm # 680, 02'39'', 27.4 MB, Quciktime/mov - other versions at Blip.tv)

Today's Bonus Lumiere Video features controlled revolutions, passing by (Lum # 195 " 01'00'', 6.3 MB, Quicktime/mov)

On the simple joys of not moving

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"To voodle and walk is to lack a place. It is the indefinite process of being absent and in search of an appropriation. The voodling about that the city multiplies and concentrates makes the city itself an immense social experience of lacking a place- an experience that is, to be sure, broken up into countless tiny deportations, compensated for by the relationships and intersections of these exoduses that intertwine and create an urban fabric, and placed under the sign of what ought to be, ultimately, the place but is only a name, the City."

As the conscious practice of voodling everyday life may [also] lead to simple, yet effective tactics to stay phenomenologically put, Sam Renseiw remained at home. View the cut-up footage become the ennobling of Balconia into a sunny, situationist eldorado-deportation by clicking here or on links above. (patafilm # 678, 01'36'', 14.5MB, Quicktime/mov - other versiona at Blip.tv)

Today's Bonus Lumiere Video reflects a short, abridged moment of walking in the city, continuing the enlightning tactics of voodle practice in everyday life. (Lum # 193 " dog-bridge-train" 00'56'', 6MB, Quicktime/mov)

On travelling and camera phenomenology

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" The general absence of characters in [Patalab's] Voodles reflects but one part of the ongoing research into a visual morphology of body and space. On one hand, the main concerns centre around efforts to depict more realistic points of views in the recording of movements through space(s); On the other, there are the continuous attempts to establish feeble visual languages devoid of the "talking-heads-in-frames" as conforming to TV and Hollywood standard scenario of story telling. The actual meaning in voodling remains in the factual flow of images, conveying a possible haptic massage with the overlay and inclusion of non-diegetic soundtracks. Basically, Voodles remain a poetics of spontaneously crafted visual antidotes, camouflaged as meaningless placebo video"

Conscious of the apparent futility of the whole voodling endeavour in the midst of the flooding of moving imagery in the web, Sam Renseiw stubbornly maintains a level of consistent ongoing research with the regularity of the postings. After almost five years of activity, the endeavour nevertheless takes its toll in the midst of the present crisis. View yet another walking attempt to capture the quotidian by clicking here or on the links above. (patafilm # 677, 03'56'', 32MB, Quickltime/mov - other versions and feeds at Blip.tv )

Today's Bonus Lumiere Video actually features moving characters in a fixed frame, thus enabling some sort of reading of bodies in space (Lum # 192 " the art elevator" 01'00'' 7MB, Quicktime/mov)

Spring and season greetings! Thank you for watching. Best, Sam.

On the practice of (almost) everyday voodling

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"In order to grasp the formal structure of this practice, I have carried out two sorts of investigations. The first, more descriptive in nature, has concerned certain ways of voodling that were selected according to their value for the strategy of the analysis, and with a view to obtaining fairly differentiated variants: 'pataphysical practices, practices related to urban spaces, utilizations of everyday rituals, re-uses and functions of the memory through the "medias" that make possible (or permit) everyday practices, etc. In addition, other investigations have tried to trace the intricate forms of the operations proper to the recompositon of spaces by familial practices, on the one hand, and on the other, to the tactics of the art of voodling, which simultaneously organizes a network of relations, poetic ways of "making do" (bricolage), and a re-use of everyday structures."

Reflecting on the nature of fluid interfaces in everyday life, Sam Renseiw pondered on the question of the development of a sixth sense's in future voodling. Passing reflecting puddles, various navigation vehicles and even crossing a fluid gap, Sam captured formal structures the old fashioned way. View the unfolding promenade with parallel Exurb by clicking here or on the links above. (patafilm # 675, 03'11'', 25.4MB, Quicktime/mov - other versions at Blip.tv)

Today's Bonus Lumiere Video features traffic on a fluid interface. (Lum # 189, "fluid interface " 01'00'', 7MB, Quicktime/mov)