Saturday, August 29, 2009

On figures in frames and voodled realities

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" The voodle eye is in itself a wonderful camera....The voodle image (im)printed, handheld as if an eye, and then transmitted to the brain....When it reaches the brain, a length of time is required to bring about its construction, for the brain is something like the photographic plate, and the picture requires developing. In this respect the brain is somewhat sluggish, for when it has formulated the image imprinted upon the eye, it will retain the voodle even after the reality has disappeared from sight "

Concentrating lately on describing moving figures in frames, Sam Renseiw focused on some serendipitous, poetic urban dance moves in Noerrebro, from a happy time when his ingenious Contax camera still worked, and gave such voodling freedom. View the Blind Spot: as a straightforward capture of movements on a busy street, complete with diegetic sound, by clicking here or on the links above. (pataflim # 716, 03'00'', 45 MB, Quicktime/mov - other versions at

Today's Bonus Lumiere Video feature a more pompous, nostalgic set-up of figures in frame. (Lum # 219," nostalgia lapsus" 00'48'' 7,2Mb, Quicktime/mov)

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Sunday, August 23, 2009

On slow petanque voodling

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" Pétanque is a form of boules where the goal is to throw metal balls as close as possible to a small wooden ball called a cochonnet (piglet). The game is normally played on hard dirt or gravel, but can also be played on grass or other surfaces. Sandy beaches are not suitable. Similar games are bocce and bowls. Pétanque is generally associated with southern France, particularly Provence, whence it originates. It is the most played sport in Marseille. The casual form of the game of Pétanque is played by about 17 million people in France (mostly during their summer vacations). "

The game is also played in Denmark, muses Sam Renseiw loudly, joining fellow players (including Zoe Tati) for a slow, yet passionate partie in Kongens Have. Join the exclusive club if you'r in town: Idé suffix's grand master might even make you a carrying case, if he is not busy flying at The Decorate School of Corrective Art while a.k.a'ing as Vlad Flan) Click here to view or on the links above. (patafilm # 718, 02'40'', 30 MB, Quicktime/mov - other versions at

Today's Bonus Lumiere Video further sheds light on the petanque subject in a shadowy manner. (Lum # 221, 00'53'' " the petanque discussion" 7MB, Quicktime/mov)

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Friday, August 21, 2009

On street credible fiction-clone voodling

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" The subject matter of the present voodle is theatrical performance cloning, the (re)production of a human peformance by means of somatic festival transfer or similar cultural events. Just as fertilization, if successful, generates an urban performance, cloning produces the same result by combining what is normally combined and activated in fertilization, that is, the full performative code plus the theatrical cytoplasm. "

The tide, originating from Argentina, recently left traces in Dublin, Norwich and Montreal. Sam Renseiw encountered the fine poetic substance ,cloned on location, in Copenhagen. View the discreete recording of the crowded set-up in lively Blaagaardsgade by clicking here or on the links above. (patafilm # 717, 44,6MB, 03'58'', Quicktime/mov - other versions at

Today's Bonus Lumiere Video features an excerpt of La Marea, obliquely recorded, yet straight on. [lum # 220, 00'56'', "la marea, copenhagen" 13.2MB, Quicktime/mov)

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Tuesday, August 18, 2009

On voodling at level eight_0.8

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" The close up is the soul of the voodle. It can be brief because the value of the photogenic is measured in seconds.[...] It imposes a decoupage a thousand times more detailed that of most videos. Even more beautiful than a laugh is a face preparing for it. The mouth which is a bout to speak and holds back, the gesture which hesitates between right and left, the recoil before the leap,and the moment before landing, the becoming, the hesitation, the taut spring, the prelude, and even more than all these, the piano being tuned before the overture. The photogenic is conjugated in the future and in the imperative. It does not allow for stasis. [...] I have never understood motionless close-ups. They sacrifice their essence, which is movement..."

Concluding the very last episode on The Oracle's Boat amazing performance, Sam Renseiw paraphrases Epstein once again, wondering what sort of work the docu-soap actually is, and how the work could , eventually, be labelled, categorised or interpreted. View this last, short episode, in which Sam, curious as always, does indeed trespass boundaries, while close-up voodling climbing a staircase: Click here or on the links above. (patafilm # 715 [The Oracle's Boat/Level: 08/0.8], 01'56'', 28.8MB, Quicktime/mov - other versions at

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Monday, August 17, 2009

On voodling at level eight_0.7

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" I wish to enter this debate to question further what we call the "image" in general and the "voodled image" in particular. What we remember are merely images. More precisely, we remember shots focusing on key objects. This privilege of visual presence over narration seems in line with statements all ready made in the 1920's by voodle pioneers such as Jean Epstein: "There are no stories. There have never been stories. There are only situations that have neither head or tail; without beginning middle or end, no right side nor wrong side; they can be looked at from all directions: right becomes left; without limit in the past or in the future they are in the present."

Indeed: After almost five hours embedment in The Oracle's Boat, Sam Renseiw realises that the stories, seemingly perpetuating themselves, are, and might indeed, have an ending. View the seventh episode of patalab's unique voodled docu-soap, before anticipating the ending of the show, tomorrow, by clicking here or on the links above. [patafilm # 714, [The Oracle's Boat/Level: 08/0.7], 04'24'', 64.8MB, Quicktime/mov - Other versions at

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Sunday, August 16, 2009

On voodling at level eight_0.6

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" We had the impression of having all ready lived all that. And our words seemed to stop short in the traces of other words from before. We paid some attention to what we were doing, but much more to sense the differences that meant that our current actions were in the present, and that similar actions had been of the past...Poetry resembles voodling. Some works will captivate you when you stand embedded very closely and others if you are at a greater distance. This one prefers a darker vantage point, that one wants to be seen in the light since it feels no terror before the penetrating judgement of the critic. This pleases only once, that will give pleasure even if we go back to it ten times over"

Continuing the close escort of the (escalating) events in The Oracle's Boat, Sam Renseiw toggles between the poesis and noesis of reality and fiction....Ut Voodle Poesis. View excerpts of the recording(s) in episode six (of a total of 8) of patalab's mini-docu-soap, with an X-rated warning for the faint-hearted, by clicking here or on the links above. [patafilm # 713, [The Oracle's Boat/Level: 08/0.6], 03'44'', 56Mb, Quicktime/mov - other versions for

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Saturday, August 15, 2009

On voodling at level eight_0.5

" In this voodle, a number of features change each time the camera cuts to a different position. Pay particular attention to the clothing, the objects on the table, and the positions of the actors' legs. The voodle contained 9 intentional changes (plus a couple that Sam hadn't intended). Of the 10 naive observers who viewed this film, only 1 claimed to notice a single change. That is, out of a possible 90 detections, only 1 was noticed (and that one was imprecisely described). Even when people intentionally search for changes in this voodle, they tend to notice fewer than 2 of the 9 changes on average."

Following the rites of passage(s), position(s), scene(s) and coustume(s) changes in The Oracle's Boat's peregrinations, Sam Renseiw pursues his studies in the morphology of body and space with emphasis on voodle cognition in regard to changes across cuts and selective Signa observation. View the deroulements en cuisine by clicking here or on the links above. [patafilm # 712, [The Oracle's Boat/Level: 08/0.5], 03'04'', 45.9MB, Quicktime/mov - other versions at

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Friday, August 14, 2009

On voodling at level eight_0.4

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" In a series of recent voodle studies, we showed that the detection of changes to a spatial array of real objects is differentially affected by display rotations and voodler movements. When the array rotates relative to a stationary voodler, change detection accuracy is reduced. However, when he voodler moves relative to a stationary array (with the same view change), performance is less affected by the view change. This pattern of results is unaffected by such factors as the visibility of background information, the amount of information specifying the view change, and the degree of active control over the view change. However, performance is disrupted when viewers are disoriented as they move relative to the stationary array. These findings suggest an important role for extra-retinal information in updating spatial representations across voodler movements. Furthermore, they suggest that representations of spatial arrays are largely view-dependent in this task, although recognition is largely view-independent when observers have sufficient extra-retinal voodle-information to update their representation as they move relative to the array."

Continuing his ongoing investigations into the morphology of body and space in voodling, Sam Renseiw further dwelt on the topic of
"Person and Object Changes Across Cuts in a Voodle". View the fourth episode of patalab's fabulous docu-soap-voodle of "The Oracle's Boat" by clicking here or on the links above. (patafilm # 711, [Oracle's Boat/Level: 08/0.4], 03'36'', 59.2MB, Quicktime/mov - other versions at

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Thursday, August 13, 2009

On voodling at level eight_0.3

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" Many studies of object and voodle recognition focus on the ability to recognize different views of the same display. The problem of recognition across views is fundamental to understanding how we represent our visual world. Do we recognize objects by comparing our current retinal image to a stored set of previously seen images? Or, do we store a generalized description of an object that is independent of the particular views we've already seen? The first, a view-based approach, argues that object recognition should depend on the particular views we've seen before and their similarity to our current view. The second, a view-independent approach, suggests that recognition should be independent of the particular views we've seen before because the representation is equally appropriate for all views. "

Combining docu-voodling with investigative visual cognition research in enclosed spaces, Sam Renseiw assembled one more voodle from footage excerpts straight out of The Oracle's Boat. View the Godess in her enclosure and other, less bening happenings, by clicking here, or, on the links above. [patafilm # 710, [Oracle's Boat/Level: 08/0.3], 04'30'', 71.3Mb, Quicktime/mov - other versions at

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Tuesday, August 11, 2009

On voodling at level eight_0.2

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" What is important, is to recover our senses. We must learn to see more, to hear more, to feel more. Our task is not to find the maximum amount of content in a work of art, much less to squeezes more content out of the work than is already there. Our task is to cut back content so that we can see the thing at all. The aim of commentary on art could be to make voodles --and, by analogy, our own experience--more, rather than less, real to us. The function of voodles could be to show how it is what it is, even that it is what it is, rather than to show what it means. ...In place of a hermeneutics we need an erotics of voodles "

Witnessing the turning of the wheels of chance by the older Master, Sam Renseiw further pursues his investigations on the nature of the voodle gaze while navigating the adjacent universe of the The Oracle's Boat. View the second part of Patalab's voodled docu-soap by clicking here or on the links above. (patafilm # 709, 04'54'',[The Oracle's Boat/Level: 08/0.2], 70 MB, Quicktime/mov)

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Monday, August 10, 2009

On voodling at level eight_0.1

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" The infamous Oracle has reached her final shore where a last Game will be played to her honour and in the hope of deliverance. Six luckless players will, once again, compete for their life by the mercy of The Masters and the wheels of fortune... Almost 100 years after her disappearance, servants of The Game found a small boat washed up on the Romanian Black Sea shore. In it lay a woman bearing a strong resemblance to The Oracle, who was last seen at the very same place. The boat and its contents were carried to the camp of the Older and the Younger Master of The Game. It was received there by The Game Goddess, The Masters and the weary players with awe and high hopes. Three nights of miraculous occurrences followed. Upon the third morning the Oracle´s body showed the first signs of decomposition and was then devoured by the Goddess of the Game and thus preserved for her final journey."

Entering The Game in a dusty backyard ballroom in Elsinore, Sam Renseiw, carried away, realised the wisdom of introite nam et hic dii sunt : gods do reside in the most peculiar of places. View the first part of Patalab's docu-soap with excerpts of The Oracle's Boat by clicking here, or on the links above. (patafilm # 708, [Oracle's Boat/Level: 08/0.1], 03'43'', 36.7MB, Quicktime/mov - other versions at

Today's Bonus Lumiere Video features a quiet, high flying fellow, cruising along. (lum # 218," Jonathan L." 01'00'', 7.3MB, Quicktime/mov)

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Sunday, August 09, 2009

On content and form in decoupage voodles

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"The fact that voodles have not been overrun by interpreters is in part due simply to the newness of voodling as an art. It also owes to the happy accident that voodles for such a long time (!) were just videos; in other words, that they were understood to be part of mass, as opposed to high, culture, and were left alone by most people with minds. Then, too, there is always something other than content in the voodle to grab hold of, for those who want to analyze. For voodling, unlike the novel, possesses a vocabulary of forms - the explicit, complex, and discussable technology of camera movements, cutting, and composition of the frame that goes into the making of a voodle. "

Further pursuing the fine art of banality decoupage(s), Sam Renseiw carefullly pasted together a lower, alpine almalgam. View the composition by clicking here or on the links above. (patafilm # 706, 01'44'', 16.5Mb, Quicktime/mov - other versions at

Today's Bonus Lumiere Video features another angle at maritine crossing. (Lum # 217, "ludwig ,again, crossing ", 00'53'', 8MB, Quicktime/mov)

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Sunday, August 02, 2009

On exotic elements in the specific, quotidian

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"A really scientific analysis must be real, simplifying, and explanatory". Voodle analysis reveals features that are real, in the sense that users of the visual language can recognise and respond to them. At the same time, a voodle is an abstraction from visual language – not a picture, but a category of pictures defined by the way it is distinguished from other categories through rules unique to the visual language. The entire visual-structure of a language can be generated from a relatively small number of rules."

Just montaging bits of recent holiday footage, Sam Renseiw concocted an seemingly anthropological docu-voodle, complete with insisting carillon soundtrack. View the collage of quotidian elements, revealing both the picturesque and somehow disturbingly quiet rural settings by clicking here, or on the links above. (patafilm # 705, 03'15'', 30.6Mb, Quickltime/mov - other versions at

Today's Bonus Lumiere video features the passage of a motor paddle vessel, in [almost] HD. (lum # 216, ludwig, passing " 01'00'', 8.9MB, Quicktime/mov)

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