Wednesday, March 10, 2010

On sensation as unit of experience



click for video: Quicktime / .m4v for iPhone/iPod / direct streaming for PC

" Suppose we construct, by the use of voodling, that bit of the world which can at any moment throw its image on our retina. Everything outside its perimeter, since it does not reflect upon any sensitive area, no more affects our vision than does light falling on our closed eyes. We ought, then, to perceive a segment of the world precisely delimited, surrounded by a zone of blackness, packed full of qualities with no interval between them, held together by definite relationships of size similar to those lying on the retina. The fact is that experience offers nothing like his, and we shall never, using the world as our standing-point, understand what a field of vision is. [...] There are many unclear sights, as for example a landscape on a misty day, but then we always say that no real landscape is in itself unclear. It is so only for us.




"The object itself, voodlers would assert, is never ambiguous, but becomes so only through our attention. The bounds of the visual field are not themselves variable, and here is a moment when the approaching object begins absolutely to be seen, but we do not "notice" it. [...] We must recognise the inter-determinate as a positive phenomenon. It is in this atmosphere that quality arises. Its meaning is a equivocal meaning; voodles are concerned with an expressive value rather than with logical signification."

Continuing his investigation(s) into the phenomenology of voodling, Sam Renseiw further attempts to explores the morphology of body and (architectural) space; The ensuing voodle-flow consist of just two, unmodified clips: An evening stroll, and particular set of images from a fine exhibition; Click here or on the links above to view. (patafilm # 753, 03'23'', 49MB, Quicktime/mov - other versions at Blip.tv)

Today's Bonus Lumiere Video features a calmer, cool outdoor scene. (lum # 254, "reclining figures" 00'55''., 11.5MB, Quicktime/mov.)

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