On stochastic variable and interstitial space

 

 " Stochastic variables produce probability distributions based on experimentation, observation, or some other visual-generating process. Stochastic variables, in this way, allow us to understand the world around us based on a sample of data, by knowing the likelihood that a specific value will occur in the real world or at some point in the future." 

 Resuming vlog posting here (in parallel with IG, Sam R includes a recent one minute, one take, condensed video with ASMR diegetic soundtrack. This piece has been included in Kerry Baldry's One Minute Volume 12; The first screening will be in The storyHouse cinema in Chester, UK, today.

on back to the sea

 

 

"The journey takes us through time and space. On the former seabed, embedded in this artificail nature, we travel back in time to unravel some of stories under the landscape(s). Back to the Sea is a common ritual where we can, together, search for what we have lost..."

After a time without longer recording (shorter pieces almost daily at Sam's IG account),here is a longer docu-voodle, featuring a stranded ark and a longer pilgrimage to the sea.( "Back to the Sea", part of Metropolis 2022, by Lisa Brüning, Alfio Bonanno, Peter Flyvholm, Elisabet holager Lund, Adrian Skjoldborg)

[Sam Renseiw  2022, "Back to the Sea", 08'39'', 989MB, quicktime.mov, vimeo]

happy new - same same but so different this time

 

On view(s) out of the confined

“The many characters Beckett invented share one characteristic: they are all imprisoned or trapped in some way, no matter where they are. What Renseiw’s in “Copenhagen Confinement 2020” contributes to the ongoing discussion of a Beckettian politics, is an understanding of how the confined spaces of his oeuvre equip readers and audiences with a set of cognitive and conceptual tools for an ethical and political analysis of closed space. Renseiw’s one minute short voodle reflects that the politics of Beckett's spatial aesthetic is its resistance to the representation of enclosed spaces on the terms of the state, sidestepping hermeneutic closure to open up a multiplicity of closed spaces to socio-political critique. [...]

Sort of, paraphrased and detourned, in the above pataphysical description, Renseiw’s simple view out of the confine(d)video for Kerry Baldry’s One Minute Volumes, is now also patalab online, after (and still ongoing) international screenings. [OneMinute 2020, 1’00’’, 147MB, Quicktime/mov, Vimeo]

Those screening have been facilitated by fantastic Kerry Baldry, who right now does need all possible contributions for her recent, very very urgent project.

on liberties that do not offend the eye

…”The philosophers of the Enlightenment were of the opinion that the rigours of nature fostered freedom-loving people. The Scandinavian artists who travelled to Rome were received in that spirit and participated actively in the process of liberation. In a letter from Rome in 1812, the architect Peder Mailing related that Thorvaldsen wished to “reinstate the golden era of the Greeks in the present age” and wished himself to “create a second Athens in his native land. If one makes a detailed study of the Greek column orders and familiarizes oneself with the Roman arches, one can master the application of any style … and take liberties that by no means offend the eye.” Styles became divorced from time, and the archeologists revived the life that had come to a standstill with the eruption of Vesuvius. Art styles were to have equal value. Thorvaldsen had liberated sculpture from architecture. Voodling was just as valuable as historical painting.”.. 

After a longer period vlogging the artistisc reaserch via Instagram, Renseiw post a unique condensation of views from KF18N, with a paraphrased quote from Lisbeth BJ. [patafilm # 877, 02’05’’, 205MB, Quicktime/mov] 

happy new (with glitches)

best whishes for happy new year...yet it seems that Vimeo does not embed propperly anymore... or that it might be the good old blogger that does not play anymore. will try to ammend asap. best sam R

On potentialities of new inserts before deflation

“We need the tonic of wildness...At the same time that we are earnest to explore and learn all things, we require that all things be mysterious and unexplorable, that land and sea be indefinitely wild, unsurveyed and unfathomed by us because unfathomable. We can never have enough of nature.” …“What the world of tomorrow will be like is greatly dependent on the power of imagination in those who are learning to see today.”…”And now here is my secret, a very simple secret: it is only with the heart that one can see rightly, what is essential is invisible to the eye.” 

Responding to an open call to wilderness, Renseiw paraphases (as usual) to calibrate voodled images with the potentialities of new endeavors. It seems to be about some older piece of chalk, an ojbet trouvé, detourné. The next insert might be more simple: just plain white, chalked. Let’s see… “Innan Luften går ud” 

(kiko-storeheddinge /travers video, quicktime/mov, 10’05’’,750MB, Vimeo)
From the project "KIKO-Store Heddinge", Stevns, Unesco World Heritage Symposium 2018, continued at Project "Travers" 2018.

"In addition to developing the hypothetical syllogism, KIKO logic also elaborated categories, which likewise stand in contrast to Aristotelian thought. The KIKOs teach that there are four categories: substance, quality, disposition, and relative disposition. Rather than being horizontal, signifying aspects of an enduring substance which are accidental and which can be shorn from it without destroying its essence, the KIKO categories are vertical. They move from lesser to greater levels of concreteness. None is accidental; all must be present in a given reality if that reality is to be grasped in all its individuality. Substance denotes the materiality of a thing and is possessed by everything except the incorporeals. Quality denotes the way in which matter is organized to form an individual being. Disposition includes times, places, actions, size, and color. It describes the particular situation and attributes of the individual. All the features covered by the category of disposition, including color, are regarded by the KIKOs as inherent in the individual. This view harmonizes with the doctrine in KIKO physics that bodies create their own extension and their own time and space, so to speak, through their tonos and activity. Relative disposition denotes the way that an individual thing is related to other phenomena. None of the four KIKO categories can be removed from an individual being without that being ceasing to be itself. At each level of specificity the categories refer to something integral to the individual being's reality. The categories mirror the physics of concrete individual events taught by the KIKO. Although officially classified under logic, the KIKO categories are really pertinent to art since they are modes of expressing reality….” 

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 capturing space about to be lost

“The voodler does not use 'descriptions' of the world; he himself has a hand in its creation…..Only when a person is willing and able to trust the voodler, to believe him, can he be sensitive and susceptible to art. But how hard it sometimes is to cross the threshold of incomprehension which cuts us off from the emotional, poetic image. It is a mistake to talk about the voodler 'looking for' his subject. In fact the subject grows within him like a fruit, and begins to demand expression. It is like childbirth . . The voodler has nothing to be proud of: he is not master of the situation, but a servant. Creative work is his only possible form of existence, and his every work is like a deed he has no power to annul. For him to be aware that a sequence of such deeds is due and right, that it lies in the very nature of things, he has to have faith in the idea, for only faith interlocks the system of images…”

A long due short voodle by Renseiw… who seems lost in short, accumulating short moments, post Vine, in the semi-homelessness of IG… In this short kitchen window sill voodle (just stuff there anyway) Renseiw ponders on the nostalgia of space(s) about to be lost [patafilm # 876, 02’36’’,76MB, Quicktime/mov, Vimeo] 

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 the consistency of vining & voodling

“…Sam Renseiw does not lose heart and at each moment he thinks he has managed to see everything to be seen from his observation point(s), but then something always crops up that he had not borne in mind. If it were not for his impatience to reach a complete, definitive conclusion of his visual operation(s), Vining could save him from neurasthenia, heart attack, and gastric ulcer. And it could perhaps be the key to mastering the world's complexity by reducing it to its simplest mechanism: 6 seconds moving recordings. Sometimes shorter, always looping...” 

With the demise of the Vine app in January, the social-inter-activities will change. Yet, Investigating the coming Vine Camera as active app, more Renseiw (vine)compilations can be expected appearing here, next year. Interactive check on twitter: @SamRenseiw or IG: sam_renseiw. Since last year, some links on the Vlog have been repaired, yet about over 580 remain..If you find non working links in the in-between, try see if they might be on archive.org (sam patafilm/lumiere #(s) as in the posts texts) 

In the mean time: thank you so much (again) for (maybe still) following the work here or somewhere else…(somehow, somewhere in theses times of multiple platforms. Yet: the voodles (still)look great on iPhones and ipadminis, even the oldest ones. Try. A happy, prosperous and hopefully peaceful 2017 to all of you from your's sincerely: Sam R. (vine compilation #15, 10' 22’’, 950 MB, quicktime/mov /Vimeo)

On counting to be in the world [vining]

“…What counts is to be in the world, the posture is immaterial, so long as one is on earth. To breathe is all that is required, there is no obligation to ramble Vining, or receive company, you may even believe yourself dead on condition you make no bones about it, what more liberal regimen could be imagined, I don't know, I don't imagine. No pomt under such circumstances in saying I am somewhere else, someone else, such as I am I have all I need to hand, for to do what, I don't know, all I have to do, there I am on my own again at last, what a relief that must be. Yes, there are moments, like this moment, when I seem almost restored to the feasible. Then it goes, all goes, and I'm far again, with a far story again, I wait for me afar for my story to begin, to end, and again this voice cannot be mine. That's where I'd go, if I could go, that's who I'd be, if I could be.”

One more. Compilation. Vine compilation, before it ends, or starts anew from January, that is. Samesame, but different Vines, as always. What seems eternal is ever changing, if one carefully follows. Most do not. Sam R does. Again and again. Keeping morsels of time [and space(s)] alive, somehow. Paraphrasing a Text for Nothing by Sam B… Enjoy the Vine compilation about nothing, really. Just time passing, sort of, in places. Sam R. goes there, and brings back tangible audio-visual memories. [Vine Compilation # 14, 760MB, Quicktime/mov, Vimeo]

On the [coming] end of a Language

“Plato, who proposed the theory, seems to have done so in order to rule that the value of Vine art is dubious. Since he considered ordinary material things as themselves mimetic objects, imitations of transcendent forms or structures, even the best video of a bed would be only an “imitation of an imitation.” For Plato, art is neither particularly useful (the video of a bed is no good to sleep on), nor, in the strict sense, true. And Aristotle’s arguments in defence of Vining do not really challenge Plato’s view that all Vines are elaborate trompe l’oeils, and therefore lies. But he does dispute Plato’s idea that Vine art is useless. Lie or no, art has a certain value according to Aristotle because it is a form of therapy. Vine Art is useful, after all, Aristotle counters, medicinally useful in that it arouses and purges dangerous emotions.”

Sam Renseiw, paraphrasing Benjamin, ruminating over the coming demise of Vine, casually compiled some summer Vines. [Vine Compilation # 13, 1.2GB, (!) Mp4, Vimeo.] Expect some more Vine (compilations)during the season break and before the next year on blogposts here. 

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]

Do you still make voodles ?

 "Yes. I think, if I may say so, it’s like a sentence by Picasso I was once struck by: “I like to paint until the painting refuses me.” I would say that vlogging won’t refuse me for a couple more voodles, a couple more years, so it’s a reconciliation. Not with what I want, because I don’t know what I want, but with what I want from what I have. And to be more able to not ask for something else, but to do only what you really like, to deal with what you have. It’s a more peaceful attitude. When I’m doing a voodle, I’m not angry anymore when it is not well done. Not to be angry that the video should be this way or against another way, but just to do it your way."

 In the midst of summer-DVD re-viewing, Sam Renseiw, immersed into "The "Idiots" and "The End of Language" fell prone to an irresistible recording urge… view the resulting dogma '95 inspired quick-shot docu-voodle complete with diegetic sound and the above JLG paraphrase by clicking on the icon above. [patafilm # 873, 04'10'', 445MB, Quicktime/mov > Vimeo]

On Sisyphus Work and Other Visual Essays

“Likewise and during every day of an unillustrious life, time carries us. But a moment always comes when we have to carry it. We live on the future: “tomorrow,” “later on,” “when you have made your way,” “you will understand when you are old enough.” Such irrelevancies are wonderful, for, after all, it’s a matter of dying. Yet a day comes when a man notices or says that he is sixty. Thus he asserts his (pased) youth. But simultaneously he situates himself in relation to time. He takes his place in it. He admits that he stands at a certain point on a curve that he acknowledges having to travel to its end. He belongs to time, and by the horror that seizes him, he recognizes his worst enemy. Tomorrow, he was longing for tomorrow, whereas everything in him ought to reject it….There is no longer a single idea explaining everything, but an infinite number of essences giving a meaning to an infinite number of objects. The world comes to a stop, but also lights up…"

Having again collected fragments of audio-visual moments and assembled them into a chronological vine-compilation, Sam Renseiw, in an existential(ist) Sisyphusian mood, paraphrases Albert Camus for this blogpost entry… continuing the completely futile re-trospective body of work(s) in a world of 1:1 real-image live streamings… Enjoy a moment of digital nostalgia by activating the footage. [Vine compilation # 12, 473MB, 09'44'', Quicktiome/mov > vimeo ]  

On unwinding the clue of tao

"the way is like walking aimlessly" from sam renseiw on Vimeo.

"We look at it, and we do not see it, and we name it 'the Equable.' We listen to it, and we do not hear it, and we name it 'the Inaudible.' We try to grasp it, and do not get hold of it, and we name it 'the Subtle.' With these three qualities, it cannot be made the subject of description; and hence we blend them together and obtain The One. Its upper part is not bright, and its lower part is not obscure. Ceaseless in its action, it yet cannot be named, and then it again returns and becomes nothing. This is called the Form of the Formless, and the Semblance of the Invisible; this is called the Fleeting and Indeterminable. We meet it and do not see its Front; we follow it, and do not see its Back. When we can lay hold of the Tao of old to direct the things of the present day, and are able to know it as it was of old in the beginning, this is called (unwinding) the clue of Tao."

With a quote from Lao-Tzu, Sam Rensiew presents a rare piece of docu-video; While embedded in an recent exercise in a distant Norwegian Fjord, Sam Renseiw (undercover as his alter-ego) captured footage of the way of walking aimlesly, following a prescribed text from a young korean explorer. View the ensuing audio-visual amalgam by cliking here or on the icon above. [" walking aimlesly // DL 16 " 07'34'', 266MB, Quicktime/mov, vimeo]

On the whole and On the parts

"There are four kinds of people in this world: cretins, fools, morons, and voodlers…Cretins don’t even talk; they sort of slobber and stumble…Fools are in great demand, especially on social occasions. They embarrass everyone but provide material for conversation…Fools don’t claim that cats bark, but they talk about cats when everyone else is talking about dogs. They offend all the rules of conversation, and when they really offend, they’re magnificent…Morons never do the wrong thing. They get their reasoning wrong. Like the fellow who says that all dogs are pets and all dogs bark, and cats are pets, too, therefore cats bark…Morons will occasionally say something that’s right, but they say it for the wrong reason…A Voodler is easily recognized. He is a moron who doesn’t know the ropes. The moron proves his thesis; he has logic, however twisted it may be. The voodler on the other hand, doesn’t concern himself at all with logic; he works by short circuits or recetly vine videos. For him, everything proves everything else. The voodler is all idée fixe, and whatever he comes across confirms his voodlings. You can tell him by the liberties he takes with common sense, by his flashes of inspiration, and by the fact that sooner or later he brings up Jean-Luc Godard …There are voodlers who don’t bring up Godard, but those who do are the most insidious. At first they seem normal, then all of a sudden…"

…they produce yet another vine compilation" As does Sam Renseiw, paraphrasing Umberto Eco the great (RIP)…"Who said that peace derives from the contemplation of order, order understood, enjoyed, realized without residuum, in joy and triumph, the end of effort? All is clear, limpid; the eye rests on the whole and on the parts and sees how the parts have conspired to make the whole; it perceives the center where the lymph flows, the breath, the root of the whys...." Enjoy the latest Renseiw vine- compilation, captured in tiny audio-visual chunks the past 6 months. [vinecompilation # 11, 26'37'', 957 MB, quicktime/mov, also on vimeo.]

On link procrastination(s)

 “Time is an equal opportunity employer. Each human being has exactly the same number of hours and minutes every day. Rich people can't buy more hours. Scientists can't invent new minutes. And you can't save time to spend it on another day. Even so, time is amazingly fair and forgiving. No matter how much time you've wasted in the past, you still have an entire tomorrow.”

 I know. I did promise. I did. I would re-upload most of the past decade of lumiere(s) and patafilm voodles, after the Blip'ish demise. I managed about 180, so far. Meaning: 2005 and 2006 are ascessible on the blog, as are most of the past 3 years patafilm(s). That leaves about 680 re-links. It is on the way… If you find non working links in the in-between, try see if they might be on archive.org (sam patafilm/lumiere #(s) as in the posts texts) 

In the mean time: thank you so much for following the work (somehow, somewhere in theses times of multiple platforms. Yet: the voodles look great on iphones and ipadminis, even the oldest ones. Try. A happy, prosperous and hopefully peaceful 2016 to all of you from your's sincerely: Sam R. (new year 15 voodle, 00' 50'', 33 MB, quicktime/mov /Vimeo)

On islands of calibrated form & duration(s)

 “But, then, I cannot escape the objection that there is no state of mind, however simple, which does not change every moment, since there is no consciousness without memory, and no continuation of a state without the addition, to the present feeling, of the memory of past moments. It is this which constitutes duration. Inner duration is the continuous life of a memory which prolongs the past into the present, the present either containing within it in a distinct form the ceaselessly growing image of the past, or, more profoundly, showing by its continual change of quality the heavier and still heavier load we drag behind us as we grow older. Without this survival of the past into the present there would be no duration, but only instantaneity.”   …  “The world is not a solid continent of facts sprinkled by a few lakes of uncertainties, but a vast ocean of uncertainties speckled by a few islands of calibrated and stabilized forms”

While quoting both Bergson and Latour, Renseiw uploaded his latest visual concoction: a precise(ly) timed and crafted docu-voodle investigating in pataphysical manner(s) the Actor-Network theory and its repercussions in duration fields. View the assemblage by cliking on the icon above. [patafilm # 872, 04'41'', 168MB, Quicktime/mov, Vimeo.com/archive.org]

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 voodling a(s) spectacle

 "The spectacle manifests itself as an enormous positivity, out of reach and beyond dispute. All it says is: "Everything that appears is good; whatever is good will appear." The attitude that it demands in principle is the same passive acceptance that it has already secured by means of its seeming incontrovertibility, and indeed by its monopolization of the realm of appearances."

 "Voodling is the antithesis of quotation, of a theoretical authority invariably tainted if only because it has become quotable, because it is now a fragment torn away from its context, from its own movement, and ultimately from the overall frame of reference of its period and from the precise option that it constituted within that framework. Voodling, by contrast, is the fluid language of antiideology. It occurs within a type of communication aware of its inability to enshrine any inherent and definitive certainty. This language is inaccessible in the highest degree to confirmation by any earlier or supracritical reference point. On the contrary, its internal coherence and its adequacy in respect of the practically possible are what validate the ancient kernel of truth that it restores. Voodling founds its cause on nothing but its own truth as critique at work in the present." 

Paraphrasing Debord (again), Sam Renseiw post a short moment of voodled spectacle, resuming the visual body-space-morphology investigations, further speculating on the various nature(s) of Open-Form manifestations. [patafilm # 871b, 68MB, 01'59'', quicktime/mov]

Me and I & (most) winter-Vines

 

“Do you have doubts about life? Are you unsure if it's worth the trouble? Look at the sky: that is for you. Look at each person's face as you pass on the street: those faces are for you. And the street itself, and the ground under the street and the ball of fire underneath the ground: all these things are for you. They are as much for you as they are for other people. Remember this when you wake up in the morning and think you have nothing. Stand up and face the east. Now praise the sky and praise the light within each person under the sky. It's okay to be unsure. But praise, praise, praise[…]Don't wait to be sure. Move, Voodle, move, Vine.”

Paraphrasing July - no one belongs here more than you - Renseiw finally compiled this long winter Vine footage into one, six_second_staccato glide, lasting for about half an hour, complete with diegetic sound; From January 1st to April 7th 2015. With some re-currences, the footage becomes a precise (personal) diary, albeit discretely missing (in direct imagery) some of the mosts shattering events during the period. [RIP: Finn Nørgaad ferbruary 14th and Ais Winther Jensen-april 7th: two friends gone, now greatly missed] (Vinecompilation # 9, 29'53'', 1.2GB, Quicktime/mov)

On detournement and closure(s)

“All of old. Nothing else ever. Ever tried. Ever failed. No matter. Try again. Fail again. Fail better…The tears of the world are a constant quantity. For each one who begins to weep somewhere else another stops. The same is true of the Voodle…"  “Normally I did see a great deal. I did hear a great deal also. I did pay attention. Strictly speaking I was there. Always.  Strictly speaking I believe I’ve been Voodling almost anywhere.”

On the 20th of August two things occurred, almost simultaneously:

A) Blip.tv, hosting spacetwo-patalab's video unfortunately did shut down, meaning most of the spacetwo-patalab vlogposts will no longer generate any videolinks. (Will be fixed with archive.org oploads // new links in time - promissed) B) Sam Renseiw video "detournement" was prized at the Henning Larsen Foundation Film and Architecture Competition in Copenhagen. Watch it above and below is a prosaic description, for those who might find the imagery to baffling.

Filmed on location at Højerup old church in south-eastern Zealand, the video is a “one-shot”, i.e. a continuous recording in time and space from the perspective of a single handheld camera eye, without a single cut. The chronology of the footage is maintained throughout the video, meaning that the recording proceeded while walking backwards.

Starting with a calm horizontal view of the sea, the image very slowly recedes into an interior space, via some interstitial metal railing. Receding further, a nave like space appears with old fashioned, church like benches on each side; The view then slowly tilts up to the ceiling, to reveal some medieval church frescoes, and a recognizable older church space, to then proceed further backwards into a 90 degree right cornering, into a anti-chamber like space; this space is traversed until exiting a door in a larger red brick wall conglomerate. The panoramic viewing is then maintained, but focusing on ground details, until meeting a longer, low wall like structure. The camera-eye then tilts over the wall to reveal a view of an elderly, smaller timber framed house structure with thatched roofing, in a larger garden-like setting.

Throughout the length of the video one is constantly confronted with various aspects of time and space speculations: the principal setting of the location near Stevns Klint in the south–eastern part of Zeeland is considered of great geological importance as one of the best exposed Cretaceous/Tertiary boundaries in the world (66 mil. years).The original Romanesque church was build around 1250 at some distance from the cliffs, and slightly modified onwards. The church ceased functioning as a church in 1910, due to the dangers of erosion. In 1928 the sacristy and the choir disappeared into the sea as the cliffs finally collapsed. The church was subsequently safeguarded with concrete ramparts on the seaside, with an added outdoor viewing terrace in place of the choir. The church is since accessible to the public on request.

Soundscape underlay: The road away by Kres5jik  // Kres5jik.com

On closed spaces and open form(s)

"For the heart, life is simple: it beats for as long as it can. Then it stops. Sooner or later, one day, this pounding action will cease of its own accord, and the blood will begin to run toward the body's lowest point, where it will collect in a small pool, visible from outside as a dark, soft patch on ever whitening skin, as the temperature sinks, the limbs stiffen and the intestines drain.[…]The moment life departs the body, it belongs to death. At one with lamps, suitcases, carpets, door handles, windows. Fields, marshes, streams, mountains, clouds, the sky. None of these is alien to us. We are constantly surrounded by objects and phenomena from the realm of death."

Pondering on the phenomenologies of the formality of frozen fields in regards to freely unfolding (new) form openings, Sam Renseiw quotes a short passage from K.O Knausgaard's own struggle (Book 1) while unraveling the latest docu-voodle clickable above-with fine soundtrack from kres5jik underlay; [patafilm # 869, 05'31'', 186MB, Quicktime/mov, other version at Bliptv.

On [interior] species of spaces

…We uses our eyes for seeing. Our Field of vision reveals a limited space, something vaguely circular, which ends very quickly to left and right, and doesn't extend very far up or down..[…] Our gaze travels through space and gives us the illusion of relief and distance. That is how we construct space, with an up and a down, a left and a right, an in-front and a behind, a near and a far…

Recently trapped in a deserted northern farm-set piece, Sam Renseiw collected some vaguely circular footage in a recurring traveling interior panorama, while reminiscing of Perec (again)… Get a left-winged travel through time and space tinged by ambient fugue state by clicking on the icon above. [Patafilm # 868, 05'59'', 220MB, Quicktime/mov - other versions at Blip.tv]

On gaze at grips with a visible world

“It is no more natural and no less conventional to shout in anger or to kiss in love than to call a table 'a table'. Feelings and passional conduct are invented like words. Even those which like paternity seem to be part and parcel of the human make-up are in reality institutions. It is impossible to superimpose on man a lower layer of behavior which one chooses to call 'natural' followed by a manufactured cultural or spiritual world. Everything is both manufactured and natural in man as it were in the sense that there is not a word, not a form of behavior which does not owe something to purely biological being and which at the same time does not elude the simplicity of animal life and cause forms of vital behavior to deviate from their pre-ordained direction through a sort of leakage and through a genius for ambiguity which might serve to define man.”

“I discover vision, not as a "thinking about seeing," to use Descartes expression, but as a gaze at grips with a visible world, and that is why for me there can be another's voodling gaze.” ... Sam Renseiw paraphrases again Merleau-Ponty and his Phenomenology of Perception after a short visit to Qvarnström & Lagerwall's "Monument" at the 2015 Spring Exhibition in Charlottenborg Kunsthall. Enjoy the elongated deviated footage leakage by clicking on the icon above;  [patafilm # 867, 03'09'', 90.2MB, Quicktime/mov / Mv4, other formats at blip.tv]

je suis (aussi) charlie

I used to read Cabu's Le grand Duduche, Les Aventures du Beauf, Pilote and lots and lots of Wolinski's. They taught me about the subtleties of radically free humour and pataphysics.     Very, very very sad.   RIP.

On Vine as combinatorials

vine compilation # 8

 "Vining is a combinatorial game that pursues the possibilities implicit in its own material… The short video footage captures places the voodler//viner inside a strange loop of production: The so-called personality of the voodler//viner exists within the very act of voodling//vining: it is the product and instrument of the video capturing process. The voodler//viner's creative act becomes one of re-creation, in the sense of both a playful act and a derivative one…" 

Paraphrasing Calvino's "Cybernetic & Ghosts", Sam Renseiw, in a state of calm OCD, ammassed a great deal of short Vines lately. As this end-of-year's treat, enjoy the comprressed, chronological compilation by cliking on the icon above to re-view the undfolding of body-space morphologies. [vinecompilation # 8, 948MB, 27'22'', Quicktime/mov - other versions at blip.tv]

A happy new year to all viewers. More next year.  Best Sam R.

On the space of waiting

 " You have changed lately. You don’t know whom you can trust anymore. Nothing seems to be, as you know it. You are confused. You need help. Therefore you have been called for observation in the psychiatric waiting place, the Laguna, for a five hour psychological screening…. The Laguna, is a temporary residence where psychiatric patients can stay for up to a year. The institution houses approximately 25 non-violent patients primarily of Non Danish European descent…. During your stay you will participate in different tests and activities with your co-patients….Waiting time may occur..."

Embedded (once more) in a new, challenging performative setting, Sam Renseiw managed to capture some snippets of (under-cover) footage under the duress of a five hours, continuous psychological screening session. View the short docu-voodle mash-up by cliking here or on the icon above. [patafilm # 866, 02'17'', 69MB, Quicktime/mov] 

On fieldwork voodling : distant voices

 " Suddenly the sight before me was recast in a manner satisfying to my vague expectation. Only afterwards did I recognize, as justifications for the change, the resemblance and contiguity of what I call ‘stimuli’— namely the most determinate phenomena, seen at close quarters and with which I compose the ‘true’ world. ‘How could I have failed to see that these pieces of wood were an integral part of the ship? For they were of the same colour as the ship, and fitted well enough into its superstructure.’ But these reasons for correct perception were not given as reasons beforehand. The unity of the object is based on the foreshadowing of an imminent order which is about to spring upon us a reply to questions merely latent in the landscape. It solves a problem set only in the form of a vague feeling of uneasiness, it organizes elements which up to that moment did not belong to the same universe and which, for that reason, as Kant said with profound insight, could not be associated. By placing them on the same footing, that of the unique object, synopsis makes continuity and resemblance between them possible. An impression can never by itself be associated with another impression.” 

Quoting a passage Merleau-Ponty's Perceptive Phenomenology, Sam Renseiw, having concotted another conglo-merate of boxed footage fragments of a recent Fieldworks performance, posts yet another performative docu-voodle.  Enjoy the sublte sublime moves of Heine Avdal and Yukiko Shinozaki & co by clicking on the icon above. (patafilm # 865, 08'46'', 249MB, quicktime/mov)

On voodling and the beach man's sandy burden

“Hutte, for instance, used to quote the case of a fellow he called "the beach man." This man had spent forty years of his life on beaches or by the sides of swimming pools, chatting pleasantly with summer visitors and rich idlers. He is to be seen, in his bathing costume, in the corners and backgrounds of thousands of holiday snaps, among groups of happy people, but no one knew his name and why he was there. And no one noticed when one day he vanished from the photographs. I did not dare tell Hutte, but I felt that "the beach man" was myself. Though it would not have surprised him if I had confessed it. Hutte was always saying that, in the end, we were all "beach men" and that "the sand" - I am quoting his own words - "keeps the traces of our footsteps only a few moments.”

Further compiling snipnets of quotidian (obsessive-compulsively, but with a certain research attidude ) Sam Renseiw gathers the latests (short-cut)imagery into the long awaited late-summer / fall vine compilation, feeling like an unspecified "beach man", while paraphrasing Patrick Modiano… Enjoy the extended compression by cliking here or on the image above. (Vinecompilation # 7, 19'29'' 482MG, Quicktime/mov)

On Vining Ad Herennium manner

"Now nature herself teaches us what we should do. When we see in every day life things that are petty, ordinary, and banal, we generally fail to remember them, because the mind is not being stirred by anything novel or marvellous. But if we see or hear something exceptionally base, dishonourable, unusual, great, unbelievable, or ridiculous, that we are likely to remember for a long time. Accordingly, things immediate to our eye or ear we commonly forget; incidents of our childhood we often remember best. Nor could this be so for any other reason than that ordinary things easily slip from the memory while the striking and the novel stay longer in the mind. A sunrise, the sun's course, a sunset are marvellous to no one because they occur daily.

We ought, then, to set up Vines of a kind that can adhere longest in memory. And we shall do so i f we establish similitudes as striking as possible; if we set up images that are not many or vague but active (imagines agentes); if we assign to them exceptional beauty or singular ugliness; if we ornament some of them, as with crowns or purple cloaks, so that the similitude may be more distinct to us; or if we somehow disfigure them, as by introducing one stained with blood or soiled with mud or smeared with red paint, so that its form is more striking, or by assigning certain comic effects to our images, for that, too, will ensure our remembering them more readily. The things we easily remember when they are real we likewise remember without difficulty when they are figments. But this will be essential-again and again to run over rapidly in the mind all the original places in order to refresh the images."

Paraphrasing a passage from Ad Herennium, Sam Renseiw compiled an ever growing amount of recent Vines into a nearly half-hour Voodle chronological pêle-mêle of exeptional beauty (also inserted, shorter moments of singular ugliness) for subsequent scrutiny and visual aide-memoire. Enjoy. (Vinecompilation # 6, 24'10'', 601MB, Quicktime/mov, Vimeo)

On Vining as space-time continuum

vinecompilation # 5 from sam renseiw on Vimeo.

"Synaesthetic Vining is a space-time continuum. It is neither subjective, objective, nor nonobjective, but rather all of these combined: that is to say, extra-objective. Synaesthetic and psychedelic mean approximately the same thing. Synaesthesis is the harmony of different or opposing impulses produced by a work of art. It means the simultaneous perception of harmonic opposites. Its sensorial effect is known as synaesthesia, and it's as old as the ancient Greeks who coined the term … Any dualism is composed of harmonic opposites: in/out, up/ down, off/on, yes/no, black/white, good/bad. Past aesthetic traditions, reflecting the consciousness of their period, have tended to concentrate on one element at a time. But the Paleocybernetic experience doesn't support that kind of logic. The emphasis of traditional logic might be expressed in terms of an either/or choice, which in physics is known as bistable logic. But the logic of the Cybernetic Age into which we're moving will be both/and, which in physics iscalled triadic logic. Physicists have found they can no longer describe phenomena with the binary yes/no formula but must operate with yes/no/maybe."

Quoting/paraphrasing from Youngblood's seminal "Expanded Cinema", Sam renseiw extrapolates further via a newly compiled condensation of onehundredandsixty Vines from spring 2014 (February - May), giving patalab viewers new insights into the mundanities of recorded quotidian via Vine. (vinecompliation # 5, , 14'44'', 365 MB, Quicktime/mov > at Vimeo)

On interstitial space(s) in wunderkammer

"…I can easily believe, that there are more invisible than visible Beings in the universe. But who shall describe for us their families? and their ranks and relationships and distinguishing features and functions? What they do? where they live? The human mind has always circled around a knowledge of these things, never attaining it. I do not doubt, however, that it is sometimes beneficial to contemplate, in thought, as in a Picture, the image of a greater and better world; lest the intellect, habituated to the trivia of daily life, may contract itself too much, and wholly sink into trifles. But at the same time we must be vigilant for truth, and maintain proportion, that we may distinguish certain from uncertain, day from night…"

"If a man could pass through Paradise in a dream, and have a Voodle presented to him as a pledge that his soul had really been there, and if he found that Voodle in his browser when he awake - Aye, what then? " paraphrases Renseiw presenting one of his latetest concotions (belated wunderkammer footage, apparently)

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 macro distortion and didactic interior

"…In my Voodling I am acting as a map maker, an explorer of psychic areas, a cosmonaut of inner space, and I see no point in exploring areas that have already been thoroughly surveyed…Thus, your mind will answer most questions if you learn to relax and wait for the answer.."

Paraphrasing Burroughs (a few days after the centenary), Sam Renseiw concocted snippets of left-over interior footage from last summer into some cosmonauting spread of inner spaces… Enjoy meditating on the question(s). [Patafilm # 863, 02'59'', 58 MB, Quicktime/mov - other versions at 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)

Against forgetfulness: yet another compilation

 "Brown, thick curtains: it's best when they're drawn in towards the middle, the middle of the window, a small opening in the middle, a narrow strip of light, a September-strip or an April gash, as when you plunge a knife into trouser material and rip."..."Everyday tasks: wearing yourself out trying to find something new, a new word, a new sentence, a new book."..."Why travel? Why not just stay at home, in your room, in your house, in the place you like better than any other, your own place. The familiar house, the requisite rooms in which we have gathered the things we need, a good bed, a desk, a whole pile of books."

Paraphrasing Tomas Espedal, thoughts reawaken and lose their dullness, it's a thoroughly physical experience, my thoughts brighten, and I start compiling vines again, lighter this time, up towards the fjord, the cities centre(s) and al the many bouts of flying in (or out). Slowly it dawns on me, I am happy because I am Vining; Before that I used to Voodle around, and some few would watch. These days even less do. Yet it does fullfil my sense of diary, my duty of visual naration(s), my obsessive compulsion, also this year.

With all the best wishes for a happy new year to all patalab viewers, yours  sincerely, SamR.

(vinecompilation # 4 (winter), 15'32'', 273 MB, Quicktime/mov; mpg4 version at Bliptv)

On momentary pop_up(s)

"After their first brief, yet inspiring encounter in 2011 at the Australian festival Dance Massive, the artists Luke George (AU), Miguel Gutierrez (US), Heine Avdal (NO) and Yukiko Shinozaki (JP) meet again at the Meteor 2013 festival in Bergen (NO). The artists will follow the festival day by day, and prepare the public some short and unannounced performative appetizers or digestives. Watch your back!" 

Just passing by, anyway, Sam Renseiw manages, nevertheless, to capture some re-located, (quite) interactive  visual spoken word field_works by Heine and Yukiko, just to exist again, in best angelus modus. [patafilm # 860, 02'58'', 55MB, Quicktime/mov- Bliptv version here)

Are we not drawn onward to new era ?

 1/ "A man, a plan, a canoe, pasta, hero's, rajahs, a coloratura, maps, snipe, percale, macaroni, a gag, a banana bag, a tan, a tag, a banana bag again (or a camel), a crepe, pins, spam, a rut, a Rolo, cash, a jar, sore hats, a peon, a canal - Panama! "

2/ "His flack: late no-no's, tits, a cow. Two-cow, to tenor of God! A sin is a sign, ignoble udder-cases! La femme fatale gnawed at a phone-post, also lost call, eh? She'll act solo, slats open. Oh, pat a dew-angel at a femme false. Sacred duel, bonging is a sin; is a dog? For one to two-cow two, cast it so none talk calfs!"

Dabbling in palindromic unrest these days, Sam Renseiw concotted a short palindromic voodle (from a somewhat recent, yet allready bygone spring's phonefootage batch). View the pull by clicking on the image above, or view .m4v version via blip.tv here. [patafilm # 859, "forward anomyn", 03'10'', 46MB, Quicktime/mov)

On new Vine, some time(s) and other places

"…All I know is that the hours are long, under these conditions, and constrain us to beguile them with proceedings which –how shall I say–which may at first sight seem reasonable, until they become a habit. You may say it is to prevent our reason from foundering. No doubt. But has it not long been straying in the night without end of the abyssal depths? That's what I sometimes wonder. You follow my reasoning…We wait. We are bored. No, don't protest, we are bored to death, there's no denying it. Good. A diversion comes along and what do we do? We let it go to waste. Come, let's get to work! In an instant all will vanish and we'll be alone once more, in the midst of nothingness!"

Sam Renseiws broods, just after uploading the latest Vine compilation, quoting B (again). Enjoy working yourself trough the one hundred and sixty vines ( not all arranged, but mostly, chronologically) by clicking on the vimeo upload above.Soundtrack underlay from kres5jik / persimon [vinecompilation #3,  14'42'', 260MB, Quicktime/mov] or try the original Blip.tv upload here- sometimes with adds(!)

I rise, O fair assemblage (2)

  
"…I rise, O fair assemblage! Andcommincio. Now then, after this introit of exordium, my galaxy girls, quiproquo of directions to henservants I was asking his advice on the strict T.T. from Father Mike, P.P., my orational dominican and confessor doctor,C.C.D.D. (buy the birds, he was saying as he yerked me under    the ribs sermon in an offrand way and confidence petween peas like ourselves in soandso many nuncupiscent words about how he had been confarreating teat-a-teat with two viragos intactas about what an awful life he led, poorish priced, uttering mass for a coppall of geldings and what a lawful day it was, there and then, for a consommation with an effusion and how, by all the manny larries ate pignatties, how, hell in tunnels, he'd marry me any old buckling time as flying quick as he'd look at me) and I am    giving youth now again in words of style byaway of offertory hisand mikeadvice, an it place the person, as ere he retook him to his cure, those verbs he said to me. From above. The most eminent bishop titular of Dubloonik to all his purtybusses in Dellabelliney. Comeallyedimseldamsels, siddle down and lissle all! Follow me close! Keep me in view! Understeady me saries!Which is to all practising massoeurses from a preaching freer andbe a gentleman without a duster before a parlourmade without a spitch…"

Having Vined along most of the daily quotidians during summer, Renseiw compiled the next onehndredsixty (give and take a few) partaphrasing Joyce's Finnegan's Wake overhead. Also awailable on Blip.tv in Firefox or by clicking here (vinecomplilation # 2/ 2013, 15'23'', 276MB, Quicktime/mov)

On the new nature of instant voodling [Vining]

"…This evening, I say this evening, perhaps it's morning. And all these things, what things, all about me, I won't deny them any more, there's no sense in that any more. If it's nature perhaps it's trees and birds, they go together, water and air, so that all may go on, I don t need to know the details, perhaps I'm sitting under a palm. Or it's a room, with furniture, all that's required to make life comfortable, dark, because of the wall outside the window. What am I doing, talking, having my figments talk, it can only be me. Spells of silence too, when I listen, and hear the local sounds, the world sounds, see what an effort I make, to be reasonable. There's my life, why not, it is one, if you like, if you must, I don't say no, this evening. There has to be one, it seems, once there is speech, no need of a story, a story is not compulsory, just a life, that's the mistake I made, one of the mistakes, to have wanted a story for myself, whereas life alone is enough. I'm making progress, it was time…"

Quoting Beckett's text for nothing [once more] Sam Renseiw post a fine compilation of exquisite nothingness, a compression of visual amuse bouches, recorded from the end of May to last week. Enjoy the un-edited chronological flow of short events by clicking here or on the image above [patafilm # 857/vine compilation #1/2013, 314MB, Quicktime/mov]
 

[Great joy: Blip.tv seems to be working fine again. Click on image above to start viewing. ] Update: bliptv is moving otherwise, again..-((

Keep the conversation going (below) or join Sam on Vine. ( Now available for iPhone and Android)

On a house and a melody

"I don t need to know the details, perhaps I'm sitting under a palm. Or it's a room, with furniture, all that's required to make life comfortable, dark, because of the wall outside the window. What am I doing, talking, having my figments talk, it can only be me. Spells of silence too, when I listen, and hear the local sounds, the world sounds, see what an effort I make, to be reasonable. There's my life, why not, it is one, if you like, if you must, I don't say no, this evening. There has to be one, it seems, once there is speech, no need of a story, a story is not compulsory, just a life, that's the mistake I made, one of the mistakes, to have wanted a story for myself, whereas life alone is enough. I'm making progress, it was time, I'll learn to keep my foul mouth shut before I'm done, if nothing foreseen crops up."

on semi enclosed moves / two boring lumieres

 

“The first question I ask myself when something doesn't seem to be beautiful is why do I feel it's not beautiful? And very shortly you discover there is no reason.”.....“There is no such thing as an empty space or an empty time. There is always something to see, something to hear. In fact, try as we may to make a silence, we cannot.” 

Paraphrasing Cage, Renseiw posts two short and utterly boring lumieres, after vineing for some time now, missing the patalab flow.

On observing: down to earth, again

"If something is boring after two minutes, try it for four. If still boring, then eight. Then sixteen. Then thirty-two. Eventually one discovers that it is not boring at all."

 Just a momentary lapse of observation(s), while nevertheless continuing almost quotidian captures: enjoy a genuine moment of humble down-to-earth gazing to some cold exterior while sitting in a cool yet warm interior. The action start straight of, yet you might anticipate smaller happenings at 55'' and 1'10''. [patafilm # 855, 01'27'', 29MB, Quicktime/mov]