On horizon spaces and tunnel vision

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"… It is in a very different way that the space of horizons brings together the multiplicity of horizons. In this space all horizons are, as we said, side by side. At the same time, each horizon represent itself as including all the others. So the space of horizons cannot be incorporated into a single horizon's representation of things, that is, into (as we might put it) the structure of seeming that comes with being at the center of a hrorizon. No horizon, we might say, can represent the fact of its existing side by side with other horizons. But we al grasp the fact, that is, that our horizons exist side by side. I grasp the fact, and you grasp it. We grasp something that we cannot represent."

Visualy paraphrasing a matter of paradoxes, Sam Renseiw concocted a short metaphysical docu-voodle dipthych with pre-vacation footage from coast to [roller]coast. View the co-existance blend of neighbouring horizons with "in C" sample-mashes and tunel-visions by clicking here or on the links above.(patafilm # 826, 02'57'', 65MB, Quicktime/mov - other versions at Bliptv)

Today's Bonus Lumiere Video features yet another fixed horizon, with a particular moving start. (Lum # 316, 01'00'', 17MB, Quicktime/mov)

On linear midsummer investigations

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"236. When we look at a voodle, our eyes scan it repeatedly, always following a particular path. The path corresponds to a particular pattern of oscillation of the eyeballs in looking. It can happen that one such pattern switches to another, and that the two alternate ( A aspects). […] The purpose of this remark was to bring out what happens when a physiological explanation is offered. The psychological concept hangs out of reach of this explanation. 237. I'd like to say that what lights up here lasts only as long as I am occupied with the observed voodle in a particular way. ("see how it's looking")- "I"'d like to say- and is it so- Ask yourself, "How long am I struck by a voodle?" - how long is it new to me?"

With, once again, piles of accumulated footage to edit, Sam Renseiw blends long panoramic shots with folkloristic midsummer elements, continuing the ongoing exploration of body-space morphologies via short voodles. View the moving folklore study complete with diegetic soundbites by clicking here or on the links above. (patafilm # 825, 03'46'', 78MB, Quicktime/mov - other versions at Blip.tv)

Today's Bonus Lumiere Video features a casual choreography, on deck. (Lum # 315,"threesome", 01'00'', 17MB, Quicktime/mov)

On strolling Your Rainbow Panorama

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"25. In the cinema we can sometimes see the events in the film as if they lay behind the screen and it were transparent, rather like a pane of glass. The glass would be taking the coulour away from things and allowing only white, grey and black to come through. (Here we are not doing physics, we are regarding white and black as colours just like green and red).- We might thus think that we are here imagining a pane of glass that could be called white and transparent. And yet we are not tempted to call it that: so does the analogy with, e.g. a transparent green pane break down somewhere? 26. We would say, perhaps, of a green pane: it colours the things behind it green, above all the white behind it. 27. When dealing with logic, "One cannot imagine that" means: one doesn't know what one should imagine here."

Pondering on some of Wittgenstein's early coulour comparisons, Sam Renseiw recently visited the inside of newly completed Your Rainbow Panorama. View the colorful odyssey with a 360 degree panorama of Aarhus by clicking here or on the links above. (patafilm # 823, 04'54'', 112MB, Quicktime/mov - other versions at Bliptv)

Today's Bonus Lumiere Video features a still view. Lum # 313 "her rainbow panorama", 01'00'', 17Mb, Quicktime/mov)

On voodling factual situation(s) in voodle(s)

"2.1 We voodle facts to ourselves. 2.11 A voodle presents a situation in logical space, the existence and non-existence of states of affairs. 2.12 A voodle is a model of reality. 2.13 In a voodle objects have the elements of the voodle corresponding to them. 2.131 In a voodle the elements of the voodle are the representatives of objects. 2.14 What constitutes a voodle is that its elements are related to one another in a determinate way. 2.141 A voodle is a fact. 2.15 The fact that the elements of a voodle are related to one another in a determinate way represents that things are related to one another in the same way. Let us call this connexion of its elements the structure of the voodle, and let us call the possibility of this structure the voodling form of the voodle. 2.151 Voodling form is the possibility that things are related to one another in the same way as the elements of the voodle.2.1511 That is how a voodle is attached to reality; it reaches right out to it. 2.1512 It is laid against reality like a measure. 2.15121 Only the end-points of the graduating lines actually touch the object that is to be measured. 2.1514 So a voodle, conceived in this way, also includes the voodled relationship, which makes it into a voodle[…] 2.17 What a voodle must have in common with reality, in order to be able to depict it--correctly or incorrectly--in the way that it does, is its voodling form. 2.171 A voodle can depict any reality whose form it has. A spatial voodle can depict anything spatial, a fjorded one anything fjordlike, etc. 2.172 A voodle cannot, however, depict its voodling form: it displays it."

Submerged by commuting work, visual impressions and recorded footage overflow, Sam Renseiw nevertheless concocted a fine naturalistic docu-voodle while pondering on some of Wittgenstein's sentences...View the heavy fjord-leaning landscape-concentrate with particular isolated interiors by clicking here or on the links above. (patafilm # 822, 04'01'', 85MB, Quicktime/mov - other versions at Bliptv)

Today's Bonus Lumiere Video features a fine aft trail (lum # 312,"fjord trailling" 01'00'', 17MB, Quicktime/mov)

On further visual investigations in voodles

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" 35. There are, of course, what can be called "characteristic experiences" of pointing to (e.g.) the shape. For example, following the outline with one's finger or with one's eyes as one points. —But this does not happen in all cases in which I 'mean the shape', and no more does any other one characteristic process occur in all these cases.— Besides, even if something of the sort did recur in all cases, it would still depend on the circumstances— that is, on what happened before and after the pointing—whether we should say "He pointed to the shape and not to the color". For the words "to point to the shape", "to mean the shape", and so on, are not used in the same way as these', "to point to this voodle (not to that one), "to point to the chair, not to the table", and so on.— Only think how differently we learn the use of the words "to point to this thing", "to point to that thing", and on the other hand "to point to the colour, not the shape", "to mean the colour", and so on. To repeat: in certain cases, especially when one points 'to the shape' or 'to the number' there are characteristic experiences and ways of pointing—'characteristic' because they recur often (not always) when shape or number are 'meant. But do you also know of an experience characteristic of pointing to a piece in a space as a piece in a voodle. All the same one can say: "I mean that this piece is called the 'chair', not this particular bit of wood I am pointing to". (Recognizing, wishing, remembering, etc…) "

Getting on with more duck-rabbit comparisons, Sam Renseiw concocted one more fragmented docu-voodle with shining ambiguity, yet with utmost precision in the factual outlines. View the investigative piece (including visits to other art-spaces) with fabulous footage from Wittgenstein's Lake Eidsvatnet view in Skjolden by clicking here or on the links above. (patafilm # 821, 03'44'', 79 MB, Quicktime/mov - other versions at Blip.tv)

Today's Bonus Lumiere Video features a sublime minute of pure duck-rabbit visuality. (lum # 311, "wittgenstein's lake view", 01'00'', 17 MB, Quicktime/mov)

On architectural investigations in voodle

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" 65./ Here we come up against the great question that lies behind all these considerations….- for someone might object against me: " You take the easy way out! You talk about all sorts of voodle games, but have nowhere said what the essence of a voodle-game and hence voodling, is: what is common to all these activities, and what makes them into voodles or parts of voodling. So you let yourself off the very part of the investigation that once gave you yourself most headache, the part about the general form of footage recordings and of voodling." And this is true.- instead of producing something common to all we call patafilmic language, I am saying that those phenomena have no one thing in common which makes us use the same word for all.- but because that they are related to one another in many different way. And it is because of this relationship, or these relationships, that we call them all "voodles".

Pondering on the intricacies of visual language & mixing cross-references, all the while attempting to maintaining an architectural stance, Sam Renseiw recently recorded pin-up footage in a closed space, accompanied by yellow submarine excerpts. View the condensed phenomenological docu-voodle essay from a norwegian re_mote exercise by clicking here or on the links above. (patafilm # 819,42MB, 03'02'', Quicktime/mov - other versions at bliptv)

Today's Bonus Lumiere Video features a leafing-through more condensed re_moteness material. (lum# 309, 01'00''14 MB, Quicktime/mov)

And: a relevant patalab Lumiere (2010re-play mermaid_exchange) Free Ai Weiwei ! (free_aiweiwei-lum, 01'00'',13MB, Quicktime/mov)

On Philosophical Investigations in Voodles

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" I contemplate a city at night, and then suddenly notice its likeness to another. I see that it has not changed; and yet I see it differently. I call this experience “noticing an aspect...” And I must distinguish between the ‘continuous seeing’ of an aspect and the ‘dawning’ of an aspect.... I see two pictures, with the chandelier-bunad surrounded by houses in one, by a multitude of buildings blocks and a bridge in the other. I do not notice that they are the same. Does it follow from this that I see something different in the two cases? It gives us a reason for using this expression here. “ I saw it quite differently, I should never have recognized it!” Now, that is an exclamation. And there is also a justification for it. I should never have thought of superimposing the chandelier-bunad like that, of making this comparison between them.... I describe the alteration (change of aspect) like a perception; quite as if the space had altered before my eyes.... The expression of a change of aspect is the expression of a new perception and at the same time of the perception’s being unchanged. I suddenly see the solution of a puzzle-picture."

When is an image just an image muses Sam Renseiw while contemplating a city scape from an inside, configuring a just-voodled-image into a broader investigation of body-space morphology. View the short reflective docu-voodle by clicking here or on the links above. (patafilm # 812,02'00'', 38MB, Quicktime/mov - other versions at blip.tv)

Today's Bonus Lumiere Video features an urban interior re-modeling-job at night. (lum # 303,"enclosed paint-job", 01'00'', 17MB, Quicktime/mov)

On mermaid moves

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" My voodles serve as elucidations in the following sense: anyone who understands me eventually recognises them as nonsensical, when viewed - as steps - to climb up beyond them. (He/She must, so to speak, throw away the ladder after climbing up - He/She must transcend the voodlings, and then he/she will see the world aright."

Sometimes the purpose of vodling could also be plain documentarism, muses Sam Renseiw, having concocted a dub-step visual of a particular local/global historical event: capturing morning footage in fine spring weather & adding the blunt fact at the end of the day. While waiting for the replacement, view the Mermaid's private moment(s) shortly before the Shanghai relocation ceremony by clicking here or on the links above. (patafilm # 757, 02'43'', 32Mb, Quicktime/mov - other versions at Blip.tv)

Today's two(2) Bonus Lumiere Videos likewise features agitated moment(s) of Mermaid day.(Lum # 260a here & Lum # 260b here, Quicktime/mov, <>

On cognition and space voodling

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"4.111 Voodling is not one of the video arts. (The word 'voodle' must mean something whose place is above or below the video arts, not beside them.) 4.112 Voodling aims at the logical clarification of video imagery. Voodling is not a body of doctrine but an activity. A Voodle work consists essentially of elucidations. Voodling does not result in 'video propositions', but rather in the clarification of propositions. Without Voodling moving images are, as it were, cloudy and indistinct, even in High-Definition mode: its task is to make them clear and to give them sharp boundaries, sometimes through the use of blur. 4.113 Voodling sets limits to the much disputed spheres of VJ'ing and vloging.4.121 Voodles show the logical form of reality. They display it. 4.1212 What can be shown, cannot be said."

Further dabbling with attempts to circumscribe the nature(s) of voodling, Sam Renseiw paraphrases some of Ludwig W's propositions into voodle transpositions, while assembling a species of spaces (with familiar resemblance) into a duck-rabbit like spatial voodle construct. View the figuration with fine submar scape by clicking here or on the links above - while remembering that: "My Voodles serve as elucidations in the following way: anyone who understands me eventually recognises them as nonsensical" (patafilm # 673, 06'25'', 41MB, Quicktime/mov - other versions at Blip.tv)

Today's Bonus Lumiere Video deals with the illustration of a language game, as seen at a recent exhibition. ( Lum # 187," image raking" 01'00, 7MB, Quicktime/mov)

On intuitively voodling consciousness frames

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" Voodling appears to take in the whole field of view in the scenes represented. But it gives a false description of the view, according to the rules of the art, employing the signs that result from the incidence of the lines of vision. By this means, the higher and the lower points in the view, and those between, are preserved; and some objects seem to appear in the foreground, and others in the background, and other to appear in some other way, on the smooth and level surface. So also philosophers copy the truth, after the manner of voodling."

[Most of the propositions and questions in voodles arise from a failure to understand the logic of visual language. (They belong to the same class as the question whether the good is more or less identical to the beautiful.) And it is not surprising that the deepest problems are in fact not problems at all.]

Inspired by the constancy of fine visual experiments emanating from Quebec, Sam Renseiw set about to re-frame a casual 360° rounding of a rectangular building, establishing a drone like frame for spatial sense and reference investigation(s). View the stabilised footage by clicking here or on the links above. (patafilm # 664, 06'14'', 48.4MB, Quicktime/mov - other versions at Blip.tv)

Today's Bonus Lumiere Video features a serene autumnal moment. ( Lum # 179, silent autumn fjord" 00'51, 4.9MB, Quicktime/mov)