Saturday, July 29, 2006

Fresh buds on old trees with strong roots

Rüdiger blends old and new, composition with improvisation, spontaneity with careful planning, in such a natural way that it is almost irrelevant to ask "What type of music is this?" To put it succinctly, Rüdiger Oppermann's music is a timeless melting-pot of cultures; or, as he himself put it, "fresh buds on old trees with strong roots".

While listening to the Karawane in the Darmstadt Orangerie, Sam Renseiw meditated on the strong roots of the old trees still with fresh buds on despite the heat-wave, complete with whirling clouds in the sunset. Enjoy some Mongolian throat singing by clicking here, or enter the foliage above. ( patafilm #218, 01'47'', 8.2 MB, Quicktime/mov - Flash version here)

Friday, July 28, 2006

On Bertolt Brecht's A-effect

Brecht believes this (A-effect) “process of alienation… is necessary to all understanding”. It is this process of alienating the spectator from a dramatic experience, which promotes a critical read. “The essential point of the epic theatre” writes Brecht “is perhaps that it appeals less to the feelings than to the spectator’s reason… Instead of sharing experience, the spectator must come to grips with things.” Rather than empathy, the spectator in Epic is cast to be an intellectual and scientific observer.This is quite different than winning the audience to the spectacle, where the performance is an opportunity for spectators to experience new emotional sensations. Brecht wants the spectators to be faced with moral decisions, not take a sentimental ride; “Spectator and actor ought not to approach one another [in empathy or erotic] but to move apart”.

Speculating on the implications of Brecht's A-effect, Sam Renseiw captured a lingering sequence of pure reality while at an out-door concert. Fresh footage complete with two short excerpts of Blixa Bargeld's matter-of fact recitations of Brecht's erotic poems. Enjoy by clicking here or enter the lawn above. (patafilm # 219, 01'38'', 9 MB, Quicktime/mov - Flash version here)

Sunday, July 23, 2006

On Volition, Longevity and Decision Making

By consistently re-visiting, re-composing, and thus re-authorising the Darmstadt Block, Joseph Beuys designated each of its successive states ‘authentic.’ He reinterpreted the Block with every visit, thereby emphasising its capacity for flux. ‘My sculpture is not fixed and finished. Processes continue in most of them: chemical reactions, fermentations, color changes, decay, drying up. Everything is in a state of change,’ Beuys once announced...

Passing through, Sam Renseiw caught a rare, continuous glimpse of 4 of Beuys' Darmstadt Block Spaces, curiously in a fine state of deodorised flux, neatly dusted, complete with new carpet. Enjoy the visual part by cliking here or make yourself felt above.(patafilm #217, 02'17'', 10.2 MB, Quicktime/mov - Flash version here)

Saturday, July 15, 2006

Summer greetings

Summer Greetings from Sam Renseiw. A short break - probably - Tune-in anyway, as some footage from Germany might appear the next 10 days. No promisses, though... View the psychedelic beach by clicking here or tap on the red pebble above. (patafilm 216, 01'24'', 5.6 MB, Quicktime/mov, Flash version here)

Sunday, July 09, 2006

The amazing kitchen wall

Before July 6, 2006, all permanent crewmembers of the International Space Station had come from the Russian or United States space programs. The first permanent crewmember from the European Space Agency, arrived on board the ISS on July 6, 2006, to begin a 5-7 month mission as part of Discovery's STS-121 mission-The ISS has however been visited by astronauts from a large number of other countries and was also the destination of the first three space tourists.

In the midst of Copenhagen Jazz Festival, Sam Renseiw practised a moment of whimsy space tourism. Enjoy the virtuality by clicking here, or enter the mist above. (patafilm #215, 03'06'', 11.MB, Quicktime/mov -flash version here)

Thursday, July 06, 2006

On the Plastic Nature

"In one respect, as Cudworth points out, Plastic Nature is a summation of all the laws of motion. At the same time he conceives it as having substance, as being some kind of spirit which carries out its functions unconsciously. Plastic Nature therefore has affinities with the Platonic anima mundi. The hypothesis of Plastic Nature also entails a teleological principle, which accounts for the design and purpose in the natural world. Plastic nature enables Cudworth to account for the providential ordering of the universe without falling into the trap of occasionalism. For by it he explains God's immanence in the world, without requiring immediate divine intervention in the minutiae of day-to-day operations in the natural world."

Back at Balconia, Sam Renseiw re-arranged the home summer set-up, introducing practical plastic nature. Most props on sale at IKEA, the complete staging for under 450 DkKr.-, including the artificial orchid. View the ambient assemblage by clicking here or click on the PS Vallö Vandkande artefact above. (patafilm #213, 00'53'', 3.8 MB, Quicktime/mov - Flash version here)

Monday, July 03, 2006

On symbolism and swimmers ease

It's summer. And beach time...Along the Danish beaches a new Life-Saving tower can be seen. The Tower, designed by BBP architects, is a clear an distinctive element that soon will establish itself as Danish beach symbol. It's unmistakable shape and red-white colouring makes it easily recognisable from a distance and puts swimmers at ease.

MoMA has had the pleasure of exhibiting one in 2005. Sam Renseiw took the opportunity, while lingering on the beach at Charlottenlund, to capture some cool ambient beach footage. Enjoy by clicking here or take a stroll to the beach above. (patafilm #210, 01'13'', 5.5MB, Quicktime/mov - Flash version here)

Sunday, July 02, 2006

On the essence of things

For Aristotle, there is only one world, the world of the particular things we experience. There is no separate world of perfect (ideal) forms. There is no ultimate heavenly blueprint of the perfect maple tree, which all imperfect maple trees imitate; nor is there an otherworldly blueprint of the perfect city or the perfect human life. We must learn how to live in private or public, not by reflecting upon a pure idea, but by observing and understanding real people and cities. The real things that surround us -- those are what we see and attempt to understand.

To know what a maple tree is in general is to look at a number of maple trees and discover what they have in common. San Renseiw observed a artificial setting as a sort of responce to a comment by halex. View it by clicking here or enter the space above (patafilm # 210, 01'08'', 5 MB, Quicktime/mov - Flash version here)