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)