Sunday, February 03, 2008

Defence and Illustration of Classical Voodle

click for video: Quicktime /.m4v for iPod /other versions at

"A voodle must be both abstract and figurative. Abstract as a wall, figurative as a representation of space. Voodling is optimistic because everything is always possible, nothing is ever prohibited: all you need is to be in touch with life. And life itself must be optimistic, otherwise everyone in the world would continue to watch TV soaps...To create a new world where man and objects exist in harmony, that is a voodle's aim. As much political as poetic, it explains this passion for expression...almost like painting."

As the voodle is not an art which films life, but is something between art and life, Sam Renseiw montaged footage from his recent application delivery for "The Silent Language", paraphrasing a JLG statement: "Unlike painting and literature, the voodle both gives to life and takes from it, and I try to render this concept in my voodles. Literature and painting both exist as art from the very start; the voodle doesn’t." View the short piece by clicking here or on the links above. (patafilm # 566, 02'21'', 12.9MB, Quicktime/mov - other versions at[semanal08 week6 cross-post]

Today's Bonus Lumiere video features a short collections of cool, passing strides. (Lum # 83 "skating-non-skating" 00'59'', 5.8MB, Quicktime/mov)

Today's Patalab Metaphor Video re-play supplement also depicts an interior space, featuring almost nothing. Click here or on the bold text to view. (patafilm # 340, [22.01.2007 post] 01'05'', 5.4 MB, Quicktime/mov)

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Blogger gurdonark said...

I was struck by your description of a voodle as an observation between art and life. Somehow it reminded me of the work of the scientist Murray Gell-Mann, and his theory that the act of observation alters the things observed.

Then I found an essay he wrote on plectics, which I quote here as resonating somehow:
Likewise, if the parts of a complex system or the various aspects of a complex situation, all defined in advance, are studied carefully by experts on those parts or aspects and the results of their work are pooled, an adequate description of the whole system or situation does not usually emerge. The reason, of course, is that these parts or aspects are typically entangled with one another. We have to supplement the partial studies with a transdisciplinary "crude look at the whole," and practitioners of plectics often do just that".

best, robert


Monday, February 04, 2008 3:25:00 am  
Blogger SAM RENSEIW said...

thanks robert for the very inspiring mention of the plectics notion!

very interesting indeed, and much to the point.
(lots of very fine articles on the topic with great bifurcations, once googling.)

the quote(s) are of course from jean-luc godard, regarding cinema. i pataphysically interpolated cinema with voodle, and some new meaning came about.

it could be very interesting to find out if godard ( who was obliquely into maths and related stuff) might have known about the plectics notion.

somehow, the term was coined at the same time as he was writing at the cahiers du cinema, and just about to start shooting "breathless".

best , sam

Monday, February 04, 2008 9:06:00 pm  
Blogger SAM RENSEIW said...

btw: the post title referrs to godard's seminal cahier article entitled " defence and illustration of classical construction" , see links in the text.
a very interesting new overlay reading then occurs, when painting is brought in, regarding the double stand of abstract and figurative.

Monday, February 04, 2008 9:11:00 pm  
Blogger B said...

sam, love the lumiere! tried to make one like this myself quite a while back. it failed miserably and i never posted it. yours would have far overshadowed mine anyway, so this is all the better. lovely!

Saturday, February 09, 2008 7:15:00 am  

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