On embodied space and happy new

“..Embodied cinema-writing is the hybrid body/camera encountering and re-acting to an infinitely generative universe. SPACETWO: PATALAB is a visual/spa-tial research videoblog that has been run by Sam Renseiw since 2005. The blog, later Vine and now Instagram accounts, holds a vast archive of video doodles or “voodles” that are spontaneous cinematic investigations of space. Renseiw in-troduces each video with a short remix of theoretical texts related to his spatial research: Jarry, Bergson, de Certeau, Debord, Calvino, Borges, to name a few. Be-yond these short texts and reflections, Renseiw, as a persona, remains a mystery. Never a presence in front of the camera, he is bodily present in his framing, montage and idiosyncratic camera gestures: walking shots, stuttering zooms, meandering glides. Renseiw’s “voice” is this gestural cinematography and intu-itive montage giving shape to the spaces he encounters: the way it is framed and reflected by windows, occluded by translucent surfaces, filled with unexpected textures, geometric shapes and signs. He discovers repetitions and flows, still-ness in concert with movement, the close embedded in the far. The voodles are micro-narratives of perception.”

New years greetings, a bit late; Most voodling endeavours seeem to be 6” short(s), lately. And then there was a peculiar project, that took some time. Anticipate more (video)posts here, in the near future. In the mean time: merci beaucoup to professor Luers for his very kind mention regarding Sam’s voodles, in  his paper “A Chance for Cinema-Writing in Electronic Literature”. It keeps the work alive !    Best wishes for a happy new year to all  viewers.

on vignettes, cumulation(s) and screenings

“What we need to question is bricks, concrete, glass, our table manners, our utensils, our tools, the way we spend our time, our rhythms. To question that which seems to have ceased forever to astonish us…”

Cumulating simple visual questions through the optics of 6 second video vine snippets lately, Renseiw continues to follow Perec's dictum..by Vining   In case of impatience, go watch the visual questions unfold on IG- > sam_renseiw

By benevolent request from Pryle Behrman via Michael Szpakowsky, and continuous inclusions to one-minutes by Kerry Baldry, some older collaborative “Lumiere et Son” videos will soon be screened at “quickqickquick” at the 2018 London Art Fair. 

Hope youn can make it there.

Whishing all viewers a very hapy new year… via this patapab02 vlogpage, still working (well) in the original format and design from 2005 (probably one of the oldest vlogs still running!!) Best Regards SAM RENSEIW

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 experiencing Epoché

 " There is an experience in which it is possible for us to come to the world with no knowledge or preconceptions in hand; it is the experience of astonishment. The “knowing” we have in this experience stands in stark contrast to the “knowing” we have in our everyday lives, where we come to the world with theory and “knowledge” in hand, our minds already made up before we ever engage the world. However, in the experience of astonishment, our everyday “knowing,” when compared to the “knowing” that we experience in astonishment, is shown up as a pale epistemological imposter and is reduced to mere opinion by comparison.

The phenomenological reduction is at once a description and prescription of a technique that allows one to voluntarily sustain the awakening force of astonishment so that conceptual cognition can be carried throughout intentional analysis, thus bringing the “knowing” of astonishment into our everyday experience. It is by virtue of the “knowing” perspective generated by the proper performance of the phenomenological reduction that phenomenology claims to offer such a radical standpoint on the world phenomenon; indeed, it claims to offer a perspective that is so radical, it becomes the standard of rigor whereby every other perspective is judged and by which they are grounded... "

Having condensed (and somewhat expanded) some recent captured suspended opera footage, Sam Rensiew concoted a bout of phenomenological reduction with some Husserlian paraphrasing on the post View the rigor by cliking on the icon above. [patafilm # 874, 03'23'', 63MB, Quicktime/mov, 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 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 basic distortions and the sublime

"..It is one thing to make an idea clear, and another to make it affecting to the imagination. If I make a drawing of a palace, or a temple, or a landscape, I present a very clear idea of those objects; but then (allowing for the effect of imitation which is something) my picture can at most affect only as the palace, temple, or landscape, would have affected in the reality. On the other hand, the most lively and spirited verbal description I can give raises a very obscure and imperfect idea of such objects; but then it is in my power to raise a stronger emotion by the description than I could do by the best photographic image. This experience constantly evinces. The proper manner of conveying the affections of the mind from one to another is by Voodles; there is a great insufficiency in all other methods of communication; and so far is a clearness of imagery from being absolutely necessary to an influence upon the passions, that they may be considerably operated upon, without presenting any image at all, by certain sounds adapted to that purpose; of which we have a sufficient proof in the acknowledged and powerful effects of instrumental music.[…] In reality, a great clearness helps but little towards affecting the passions, as it is in some sort an enemy to all enthusiasms whatsoever."

Paraphrasing the young Burke, Sam Renseiw ponders on the nature of clarity and the sublime while on a recent visual assigment to a sublime site. View the compressed wabi-sabi voodle footage from an interior space by cliking on the icon above. [patafilm # 861, 03'12'', 46MB, Qicktime/mov - other versions at Blip.tv)

On the art of (voodle) memory

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

"This art of [voodle]memory is but built upon two intentions; the one prenotion, the other emblem. Prenotion dischargeth the indefinite seeking of that we would remember, and directeth us to seek in a narrow compass, that is, somewhat that hath congruity with our place of memory. Emblem reduceth conceits intellectual to images sensible, which strike the memory more; out of which axioms may be drawn much better practice than that in use...Emblems bring down intellectual to sensible things; for what is sensible always strikes the memory stronger, and sooner impresses itself than the intellectual... And therefore it is easier to retain the image(s) of a [modern] landscape passing by, a portrait of a snow owl, a captured stork behind a window, a blue barrel of frozen water near a volliere, than the corresponding notions of invention, disposition, elocution, memory, action."

Further voodling away, Sam Renseiw muses on some of Bacon's illuminations while paraphrasing; The art of (almost) daily memories is an enlightenment indeed, and is part of Sam's research into the morphology of body in space(s). Enjoy this short perceptive visual by clicking here or on the links above. (patafilm # 745, 02'28'', 36.4MB, Quicktime/mov - other versions at Blip.tv) - more prosaic research on the perception of obstacles by the blind can be viewed here.

Today's Bonus Lumiere Video Features a room with a view.(Lum # 244,"green kitchen & chef" 01'00'',8MB, Quicktime/mov)

BTW: Brut Smog is continuing the remarkable "Lumiere et Son" project, carefully adding new audio on to Patalab's mute Lumieres. Treat yourself to some, there.

On forward moving in voodling

click for video: Quicktime / -m4v for iPod/iPhone / direct streaming for PC

" Having heard, or more probably read somewhere, in the days when I thought I would be well advised to educate myself, or amuse myself, or do some serious voodling, or kill time researching space(s), that when a man in a forest thinks he is going forward in a straight line, in reality he is going in a circle, I did my best to go in a circle, hoping in this way to go in a straight line. For I stopped being half-witted and became sly, whenever I took the trouble… and if I did not go in a rigorously straight line, with my system of going in a circle, at least I did not go in a circle, and that was something. "

The conclusion of this year's voodle activities raises more questions than actually presenting any reasonable answer to the actual core of my moving, obsessive-compulsive undertaking. I did, nevertheless, try to submit some plausible clarifications at some respectable institutions, here and there, at the end of the year.

Best of all was the continuous inspirations by other's works and the many, many considerate comments and dialogues underway. In random order, here are a few cross-links to important sources of inspiration during 2009: DVblog's ongoing video compilation work, and Michael's splendid, prolific & diverse production; Robert's superb video work, generous and attentive comments after joyfully scrutinising fellow vloggers works; Daniel's subdued moving amalgam of bright, minimal poetics always combining its refined visual lavishness with genuine humanistic substance and humour; Steven's razor sharp, inventive ongoing audio-visual research and near encyclopaedic knowledge; Philip's alert, canny & perceptive AV works, permanent attention, & his recent inventive "Lumiere et Son" re-makes, stretching Brittany's & Andreas' seminal project into new audio-visual territories of re-constructions. The Lumiere project and manifesto remains, to me, the most crucial investigative tool: liberation and deliberate focus, at once; Rolf and Inger's collegial Nordic voodle-mirror and didactic dedication; Loiez' delicate poesie des desir en desordres; Jimi's ongoing wave of personal, oblique video works continue to motivate me; Rupert's fine experiments in new, moving, communicative cellphone imagery and 12 seconds videobites; Gurdonark's energetic ongoing musical work, probing the generous shores and shares of web 2.0 treats; Last not least: missing Pepa's, but then enjoying Juan's new videos both featuring such fine South American focii; Many, many thanks to you all and also to the many fellow vlogers & other regular and casual visitors at Patalab. (+ not to forget: Blip.tv, always with superb service)

Best wishes for a happy, prosperous and fruitful new year (and new voodling decade)! Kind regards from Sam Renseiw. (patafilm # 744, 00'41'', 8MB, Quicktime/mov - other versions at Blip.tv)

On pleasure of learning & desire of discoveries

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

"Voodling is not born from rules, except in some negligible cases; rather it is the rules that derive from voodling. This is why there are many kinds and genres of true rules as there are kinds and genres of true voodlers."

" One can never discover or learn any art unless the pleasure of learning and the desire of discovering really moves" (one), muses Sam Renseiw (paraphrasing, again) while contemplating compilation(s) of some years of perambulations, soon to be laid forth for further public scrutiny. View this week-end's condensed Nordic footage by clicking here or on the links above. (patafilm # 735, 02'24'', 31 MB, Quicktime/mov -other versions at Blip.tv)

Today's Bonus Lumiere Video features a serene November maritime scene. [Lum # 236, "fjord assemblage" 01'00'', 12 MB, Quicktime/mov)

On the beholder's share in voodles

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

" I lamented the want of a mechanical method sufficiently expeditious... to draw forth ides of an ingenious mind disposed to the art of designing. [..] To sketch.. is to transfer ideas of the mind to paper ... to voodle is to makes varied spots...producing accidental forms.. from which ideas are presented to the mind... to sketch is to delineate ideas; Voodling suggest them "

Mourning the functional departure of his beloved Contax, Sam Renseiw, struggling with the absolutely baffling amount of Gigabytes generated by the substitute's unfoldings, nevertheless (very) slowly regains his modest visionary abilities. View the first combo of old and new footage in a (not yet perfected) compressed version by clicking here, or on the links above.(patafilm # 720, 02'43'', 40 MB, Quicktime/mov - other versions at blip.tv)

Today's Bonus Lumiere Video features a quiet morning scene, recorded in the new format. ( Lum # 220, 01'00'', " bicycle & dog, dragør " Quicktime/mov)

On slow petanque voodling

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

" Pétanque is a form of boules where the goal is to throw metal balls as close as possible to a small wooden ball called a cochonnet (piglet). The game is normally played on hard dirt or gravel, but can also be played on grass or other surfaces. Sandy beaches are not suitable. Similar games are bocce and bowls. Pétanque is generally associated with southern France, particularly Provence, whence it originates. It is the most played sport in Marseille. The casual form of the game of Pétanque is played by about 17 million people in France (mostly during their summer vacations). "

The game is also played in Denmark, muses Sam Renseiw loudly, joining fellow players (including Zoe Tati) for a slow, yet passionate partie in Kongens Have. Join the exclusive club if you'r in town: Idé suffix's grand master might even make you a carrying case, if he is not busy flying at The Decorate School of Corrective Art while a.k.a'ing as Vlad Flan) Click here to view or on the links above. (patafilm # 718, 02'40'', 30 MB, Quicktime/mov - other versions at Blip.tv)

Today's Bonus Lumiere Video further sheds light on the petanque subject in a shadowy manner. (Lum # 221, 00'53'' " the petanque discussion" 7MB, Quicktime/mov)

On voodling at level eight_0.7

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

" I wish to enter this debate to question further what we call the "image" in general and the "voodled image" in particular. What we remember are merely images. More precisely, we remember shots focusing on key objects. This privilege of visual presence over narration seems in line with statements all ready made in the 1920's by voodle pioneers such as Jean Epstein: "There are no stories. There have never been stories. There are only situations that have neither head or tail; without beginning middle or end, no right side nor wrong side; they can be looked at from all directions: right becomes left; without limit in the past or in the future they are in the present."

Indeed: After almost five hours embedment in The Oracle's Boat, Sam Renseiw realises that the stories, seemingly perpetuating themselves, are, and might indeed, have an ending. View the seventh episode of patalab's unique voodled docu-soap, before anticipating the ending of the show, tomorrow, by clicking here or on the links above. [patafilm # 714, [The Oracle's Boat/Level: 08/0.7], 04'24'', 64.8MB, Quicktime/mov - Other versions at Blip.tv)

On voodling at level eight_0.2

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

" What is important, is to recover our senses. We must learn to see more, to hear more, to feel more. Our task is not to find the maximum amount of content in a work of art, much less to squeezes more content out of the work than is already there. Our task is to cut back content so that we can see the thing at all. The aim of commentary on art could be to make voodles --and, by analogy, our own experience--more, rather than less, real to us. The function of voodles could be to show how it is what it is, even that it is what it is, rather than to show what it means. ...In place of a hermeneutics we need an erotics of voodles "

Witnessing the turning of the wheels of chance by the older Master, Sam Renseiw further pursues his investigations on the nature of the voodle gaze while navigating the adjacent universe of the The Oracle's Boat. View the second part of Patalab's voodled docu-soap by clicking here or on the links above. (patafilm # 709, 04'54'',[The Oracle's Boat/Level: 08/0.2], 70 MB, Quicktime/mov)

On fluid states and denial by voodle

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

"And so he prefers to keep his convictions in the fluid state, check them instance by instance, and make them the implicit rule of his own everyday behavior, in doing or not doing, in choosing or rejecting, in recording footage to voodle or in other procrastinating activities."

Having foolishly and intensively practised voodling for about four years, Sam Renseiw is getting hit by harsh realities; although still in a state of denial, Sam's most cherished spaces and further elements of grounding might soon be gone, as the self inflicted crisis must financially be unravelled; Indeed, art is not always working. See the crisis-bogeyman driving slowly along by clicking here or on the links above.(patafilm # 689, 01'41'', 16,1MB, Quicktime/mov - other versions at Blip.tv)

Today's Bonus Lumiere Video features framed moments of daily life, passing by, while one is busy re-setting wall lluminations.(Lum # 203, 00'51'', 6MB, Quicktime/mov)

On the simple joys of not moving

click for video: Quicktime / mp4 for iPod/iPhone / direct streaming for PC

"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 altered, descriptive contemplation

click for video: Quicktime / .m4v for iPodIPhone/ direct streaming for PC

" Patalab's voodles closely follow Mr. Palomar's thematic triad: the first type of voodles are chiefly concerned with visual experiences and tend to be purely descriptive; the second deal with anthropological and cultural themes, and the experience involves, apart from visual experiences, language, signs, symbols and added soundtracks. These voodles have a tendency to develop into narratives of sort; The third delineate more speculative experiences, relating these to larger questions on the nature of cosmos, time, infinity, the relationships between ego and world, between mind and matter. From being a descriptive and narrative voodle, it can mutate into something more meditative. Sometimes a voodle becomes a blend of the above themes, and might extends the contemplative nature even further. "

Convinced about the expanding benefits of travelling while staying at home, Sam Renseiw recorded snippets of a skyped visit to an interior space in Belo Horizonte; What appears like a simple set of mashed-up image(s), is a rather complex spatial phenomena shrinking time...in time. Click here to view the amalgam or on the links above. (patafilm # 667, 02'36'', 20,5MB, Quicktime/mov -other versions at Blip.tv)

Today's Bonus Lumiere Video features a simple (sub) urban set-up, on the other side of the globe. A type one voodle, actually: purely descriptive. (lum # 181, 00'54, 7.1MB, Quicktime/mov)

On the semantics of portrait voodling

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

The hallmark "blur"—sometimes a softening, sometimes almost a hard smear —has two effects: 1. It offers the footage a painted appearance; and 2. Paradoxically, it testifies the voodler's editing actions, both skilled and coarse, and the plastic nature of the voodle itself. In some voodles blurs and smudges are severe enough to disrupt the footage; it becomes hard to understand or believe. The subject is nullified. In these voodles, images and symbols (such as landscapes, portraits, and other footage) are rendered fragile illusions, fleeting conceptions in our constant reshaping of the world."

Re-considering dogmas on documentary clarity, Sam Renseiw smudges portrait footage with virtual brush strokes. Posted the same day as Richter's London opening, the moving footage atempts to re-frame the semantic fixtures of the portrait voodle. Click here or on the links above to view. Patafilm # 665, 03'31'', 28.5MB, Quicktime/mov - Other versions at Blip.tv)

Today's Bonus Lumiere Video features a quiet sunset, in a particular window. (Lum # 180, "setting" 00'59'', 6.6 MB, Quicktime/mov).
Sadly, this week one of the worlds finest architects passed away. A previously posted Lumiere captured his fine didactics in a public space.(lum # 176, "sverre's didactics " 0'59'', 6MB, Quicktime/mov)