Thursday, November 30, 2006

On the kindness of women

"Sometimes he wonders what zone of transit he himself was entering, sure that his own withdrawal was symptomatic not of a dormant schizophrenia, but of a careful preparation for a radically new environment, with its own internal landscape and logic, where old categories of thought would be merely an encumbrance... A very different world was revealed. The familiar surroundings of our lives, even our smallest gestures, were seen to have total altered meanings. As for the reclining figure of a film star, or this Mall...."Filming blindfolded, Sam Renseiw is kindly but firmly guided ahead by warm and tender hands. View by whom, and where the next station of this invisible reality journey might be, by cliking here or caress the icon above. (patafilm # 309, 03'25'', 15.6 MB, Quicktime/mov - Flash version for PC from

Wednesday, November 29, 2006

Impersonators and imaginary companions

" Impersonators are like the rabbit–duck illusion: you cannot see the two identities at the same time. Instead, your perception flickers between the two, and this ambiguity challenges our notion of authenticity. When we confront the image of Kate Moss in the body of a friendly rabbit, are we confronting anything different than the image of Moss anywhere else in the culture?—even if the person impersonating “Kate Moss” is Moss herself, in rabbit costume ?"

Shacking hands with Kate Moss dressed in a rabbit costume and them being abducted by her is no daily staple, yet invisibly real. View how Sam Renseiw overcame this traumata by clicking here, or join the playful bunny in the pinball-alley above. (patafilm # 308, 03'25'', 14.9 MB, Quicktime/mov - )

Tuesday, November 28, 2006

The long corrida

"…the most important innovation, of what is called neorealism, it seems to me, is to have realized that the necessity of the 'story' was only an unconscious way of disguising human defeat, and that the kind of imagination it involved was simply a technique of superimposing dead formulas over living social facts."

Continuing his quest into the seemingly interminable, Sam Renseiw followed the instructions. Follow the lead by clicking here or walk straight in ahead the corrida above. (patafilm # 307, 03'22'' 14.6 MB, Quicktime/mov - Flash version for PC from

Monday, November 27, 2006

On the congruity of time-space

"Absolute time and space are historical products as are the concepts of "time-space compression" and "implosion," but their mediated and mediating reality is nonetheless crucial to the formation of lived experience in the global village."

Walking towards a given blue door: Sam Renseiw subsequently entered into a short multi-verse of condensed time-space in Vesterbro. View episode 3 of The Invisible Reality Show by clicking here or double click the strange house icon above. (patafilm # 306, 03'35'', !5.8 MB, Quicktime/mov - Flash version for PC at

Sunday, November 26, 2006

On Memory, hearing and video-essays

"Practical experience shows that traditional forms of knowledge production with their enclosure into disciplines and dogmatic methods are hardly adequate to this task. It rather requires an approach that understands itself as an open, interminable and transdisciplinary process which is self-reflective of its procedure, also in terms of its style."

While musing on the simultaneous conditions of hearing and sight in memory, Sam Renseiw framed some new domestic footage, mashed-up with some delicate soundbites. Enjoy a moment of wayfinding by clicking here, or mouse in on the mouse above. (patafilm # 305, 01'12'', 5.4 MB, Quicktime/mov - Flash version at

Friday, November 24, 2006

A moment of relief

" I think a slide can change our perception of space and speed. Our brain structure is obviously affected by this vertigo effect and things that seem to be organised in a certain way can be reorganised and experienced in another order.' Will people scream? 'Oh they will, yes. Not because they're scared, but because they are let loose. They are finally free".

Experiencing what it might be like to spin down Alice's rabbit hole, Sam Renseiw caught some perceptive sliding footage in London, at The Test Site, November the 5th at 12.45 GMT, quite exhilarated after the descent. View the New Baroque, Borromini like ovoid spin by clicking here or mouse in the hole above. (patafilm # 304, 01'01'', 4.3MB, Quicktime/mov - Flash version at

Thursday, November 23, 2006

On figuring it out tall

"All the cutting force of the wind passes into the interior of the leading edge uprights. Lines drawn tangential to each upright with the point of each tangent at the same height, will always intersect at a second point, which is exactly the point through which passes the flow resultant from the action of the wind on that part of the tower support situated above the two points in question.Before coming together at the high pinnacle, the uprights appear to burst out of the ground, and in a way to be shaped by the action of the wind".

At awe just underneath it, Sam Renseiw took a short-sighted look, somehow blurred. Gustave E. just figured it out, yet the mathematical formula responsible for the elegant shape was only recently solved. Enjoy the short green calculus by clicking here or mouse in to a violin tune above. (patafilm # 303, 00'43'', 3.3 MB, Quicktime/mov - Flash version for PC at

Tuesday, November 21, 2006

Stair (cases) Diegesis

"A man of few words, reluctant to provide explanations about his work or to seek theories that would justify his choices,
S.L said everything he had to say exclusively through his projects and his works. His silent, retiring nature accounts for the fact that his work is relatively unknown, for although his output was not vast it was one of the most significant experiences of the twentieth century, evolving as it did on the margins of modernity."

Speculating if mimetic construction techniques might be of diegetic or non-diegetic nature, Sam Renseiw - once again - climbed some flight of stairs, this time in Malmo, Sweden. Enjoy the A cappella by clicking here and have a guess as to where, actually (like in the chapel) Or, step in above. (patafilm # 302,01'49'', 8.1MB,Quicktime/mov - Flash version for PC at

Monday, November 20, 2006

Cultural Learnings for Make Benefit Dance

"Emphasis is often placed on the tendency of the grotesque to challenge established authority, to undermine the hierarchy of values accepted in a given epoch and to reject its aesthetic code. As a result of the above, the grotesque work defies unequivocal interpretation. Realising that his/her efforts to comprehend the universe portrayed in such a work are futile, the viewer is left with the feeling of enlighten emotional discomfort."

In the following short visual Opus entitled: "Renseiw:Cultural Learnings of Nord for Make Benefit Glorious Nation of New Modern Dance" good old Sam captured some exuberant ritual dance moves mourning the exit of a beloved Nordic institution, featuring the use of table forks. View the rambling by clicking here or mouse-in the dance floor above. (patafilm #300, 02'28'',11 MB, Quicktim/mov - Flash version for PC at

Sunday, November 19, 2006

The dialectical optic

The "dialectical optic" starts out by perceiving "the everyday as impenetrable and the impenetrable as everyday". It was such a glare - a penetration of the curious everyday - that Benjamin had already invoked in his fragment collection called ‘One Way Street’. There a section titled ‘Optician’ had coined phrases that tried to renew perception of the everyday - remarking thereby on the curious inconsistency of vision: how brightness or dullness draws or repels attention, how the final shape of actuality might expose the history of what has taken place in a space.

A double exposure: Sam Renseiw's optic on one of Elina Brotherus' Suites francaises 2, in a former church space in Copenhagen. View the footage with Finish ambient by clicking here or enter by mouse-lip-sinc on Elina above. (patafilm # 301, 01'41'', 7.5 MB, Quicktime/mov - Flash version for PC: here)

Saturday, November 18, 2006

On association(s) of the mundane

" There are enigmatic experiences. They have a name in all languages, but a name which in all of them also conveys signification in tufts, thickets of proper meaning and figurative meanings, so that, unlike those of science, not one of these names clarifies by attributing to what is named a circumscribed signification. Rather, they are the repeated index, the insistent reminder of a mystery as familiar as unexplained, a light that illuminates but is itself obscure. If we could rediscover within the exercise of seeing and speaking some of the living references that assign them such a destiny in a language, perhaps that would teach us how to form our new instruments and first of all to understand our research, our interrogations themselves."

In a clear and sober state of mind, Sam Renseiw sets out for a longer walk, following the mysterious young lady in red, inviting him to experience quite an incongruous urban setting at the end of the scene. Experience The Invisible Reality Show shift to the next level in Vesterbro by clicking here, or mouse in the coat above (patafilm # 299, 04'34'', 21 MB, Quicktime/mov - click for Flash version for PC)

Friday, November 17, 2006

To dive under the surface of concepts

["We try to dive under the surface of concepts, be it political, social, personal, or cultural ones, and aspire to reinvent the relationship to ourselves, our fellows and the world we inhabit. We hope to raise a heightened awareness of each person’s own response to the world, on an emotional, intellectual and spiritual level. We see this as a necessary step to bringing an end to the fragmentation in the world, and to embark on more inclusive ways of action in any areas of life. In other words: to increase our love and forget our fear"]

Pulled into The Invisible Reality Show on a Thursday afternoon, Sam Renseiw experienced heightened states of awareness. View the first episode of reality excursions at the beginning by clicking here, or whirl in above. (patafilm # 298, 02'00'', 8.6 MB, Quicktime/mov - Streaming Flash version at

Monday, November 13, 2006

The poet names all things

"The poet names the gods and names all things in that which they are. This naming does not consist in merely something already known being supplied with a name; it is rather that when the poet speaks the essential word, the existent is by this naming nominated as what it is. So it becomes known as existent. Poetry is the establishing of being by means of the word"

Yes, indeed: Fish in the deep sea water probably gives out a deep sigh, all in the middle of the King's Garden. View Sam Renseiw dreaming Bun Onoe's words out aloud spoken by Riyu Konaka by clicking here or enter the sea above.(patafilm # 297, 03'06'', 14.3 MB, Quicktime/mov - Streaming Flash version at

Sunday, November 12, 2006

Talking about : Reinhardt's black no.5

" I finally made a program out of boredom. After all these years I think now that for a long time I've paraphrased Schopenhauer, saying, 'Interest is of no interest in art.' I've taken on all the bad terms of the thirties. Everything that the artist were called that was bad I've picked up and I've mad them not bad words. Like meaningless, useless, imageless - those kinds of words. Words like inhuman, sterile, cold - they became cool. Everybody affected to be cold, inhuman sort of. And the others - academic, dogmatic, absolute - I picked them up and said, 'Well, why not academic?"

A short scene from the 3rd. floor, Room 3; A Sam Renseiw contemplation on the educational, academic traffic surrounding Ad Reinhardt's fabulous work: Abstract painting no.5. Just a minimal video, ths time. Experience aparent boredoom by clicking here or join the adepts above. (patafilm # 296b, 00'34'', 2.6 MB, Quicktime/mov - Flash version available at

Saturday, November 11, 2006


"Originaly, the word MA was used to define a distance between two points or two sounds. As a result, more importance became attached to the emptiness or silence - the space between - than to a thing or sound itself. This concept of `time equals blurred space` seems also to be fundamental to the videos at Patalab."

" Perceive not the object/ but the distance/between them/not the sound /but the pauses/they leave " unfilled muses Sam Renseiw, paraphrasing Isozaki, while wondering how the cell phone bridge some obvious gaps, opening yet an other pataphysical MA. View the loud interference by clicking here or mouse in the gap above. (patafilm # 292, 01'01'', 4.4 MB, Quicktime/mov - Flash version at

Thursday, November 09, 2006

Snatch: déroutement électronique

" Patalab's videos will study the laws which govern exceptions and will explain the universe supplementary to this one; or less ambitiously they will describe a universe which one can see – must see perhaps – instead of the traditional one, for the laws discovered in the traditional universe are themselves correlated exceptions, even though frequent, or in any case accidental facts which, reduced to scarcely exceptional exceptions, don’t even have the advantage of singularity."

Footing some more imaginary solutions, colourful indeed, Sam Renseiw recollects in a blur. Basement Screen Dumps, with amazing Neo Pre-Raphaelite synthesizer soundtrack excerpt by Claire Thomas & Susan Vezey. View the mash by clicking here, or enter the blur above. ( patafilm # 291b, 01'59'', 9.6 MB, Quicktime/mov - Flash version at

Tuesday, November 07, 2006

Little Bob Minor

"After I joined the band, I found that he doesn't talk much and will rarely discuss his music. He's completely unpredictable; sometimes he'd walk off the parade after just playing a few notes, not even completing one chorus. If I ask him something about his music, I never knew how he was going to take it."

"I've been devoting quiet a bit of my time to harmonic studies on my own in libraries and places like that. I've found you've got to look back at old things and see them in a new light" mused Sam Renseiw paraphrasing Coltrane, while recording the Royal Navy band leader on hold. View this marvellous example of self restrain by clicking here or stiff-upper-lip above to enjoy the accompanying Storm Bugs soundtrack. (patafilm # 290, 01'32'', 7.6 MB, Quicktime/mov - Flash version at

Monday, November 06, 2006

On grasping the K2

"Ludwig Wittgenstein wrote in the preface to his Tractatus Logico-Philosophicus that "what can be said at all can be said clearly; and whereof one cannot speak thereof one must be silent."
...Then I fixated on the phone booth: What is beyond immediate sight is not beyond grasp. It is waiting for the inevitable journey that will bring the translating eye to the appropriate frame, draw objects into a range where they can be understood, even as the time available for us to do so seems to be slipping away..."

On a one day journey to visit the illustrious Cogcollective before their announced Screen Dump, Sam Renseiw's gaze focused on capital subjects. Expect, in the coming weeks some fresh London footage, all with fine, crisp Storm Bugs soundtrack overlays. The first video focuses on the urban presence of the K2 - Designed in 1924 by Sir Giles Gilbert Scott, the red telephone box, aka the Kiosk K2 is one of the most familiar urban artefacts in London. Click here to view the peculiar embankment approach to one kiosk or mouse in the pavement above. (patafilm # 289, 00'47'' 3.6 MB, Quicktime/mov - Flash version at

Saturday, November 04, 2006

Blurred moves: Anafor[a]

[" Indeed, I got my feeling for motion down to the most subtle of empathies, such as the way both ends of a pen waggled in relation to one another as I wrote, or how my eyeballs moved in their sockets as I scanned lines of print. There isn’t a motion that one can not isolate and feel in relation to one’s own solid body."]

Another Sam Renseiw anaphoric reminiscence with a keen dept to Len Lye. Enter by clicking here or mouse scribble further above. ( patafilm # 280, 03'11'', 14.4 MB, Quicktime/mov - streaming Flash version at And: New, Trusted Candid Art footage coming the next days, via momentary Patalab02 displacement IRL.

Thursday, November 02, 2006

On Hopper and caryatids

["I think genre speaks for us in terms of summaries of the way we see life. We live out genres as we live out myths and rituals, because that's the way we systematise our relationship to society and our relationship to people.I don't think that the development of genres in the art forms are accidents. I think they're fundamental to the way art operates on our life. So in the long run, they're inescapable."]

With a blend of Hopper's lasting influence on Polonsky, Sam Renseiw caught a short glimpse of momentary day-hawks in Paris. Re-view the encounter by clicking here or help the caryatid by mousing in above. ( patafilm # 285, 01'13'', 5.8 MB, Quicktime/mov - Flash version for PC available at