On memories and poetic(s) of space(s)

"Our memories are encumbered with facts. Beyond the recollections we continually hark back to, we should like to relive our suppressed impressions and the dreams that made us believe in happiness: Ou vous ai-je perdue, mon imagerie pietinee (Where did I lose you, my trampled fantasies?) If we have retained an element of dream in our memories, if we have gone beyond merely assembling exact recollections, bit by bit the house that was lost in the mists of time will appear from out the shadow. We do nothing to reorganize it; with intimacy it recovers its entity, in the mellowness and imprecision of the inner life. It is as though something fluid had collected our memories and we ourselves were dissolved in this fluid of the past."

Re-collecting and montageing recent footage with batches from before christmas, Sam Renseiw continues the disparate quest of investigative voodling of body-space morphologies; View the present edit of the inside of a famous church with angel clippings by cliking here or on the links above.(patafilm # 846, 06'30'', 111MB, Quicktime/mov - Other versions at bliptv)

Today's Bonus Lumiere Video features a serene moment of local (red) spring (Lum # 336, 00'47'', 12MB, Quicktime/mov)

The ontology of the architectural work

Corresponding to this three-fold distinction between physical object, work of art, and aesthetic object, Ingarden posits a three-fold distinction among properties. While the mere physical object possesses only value-neutral physical properties, the work of art may possess both ‘axiologically neutral’ properties such as having a certain sentence structure or bearing patches of color arranged in certain ways, and artistic value qualities founded on these, such as clarity or obscurity of expression, technical mastery in the way the materials are worked, balance of composition.....

Sam Renseiw inserts a short, highly illuminated video, as a purely intentional object, created and founded both in a real building (Jørn Utzon's Church in Bagsvaerd ) and in the viewer's operations of apprehending it.
The building as a work of art cannot be identified with the video displayed in this vlog, for the two have different properties and different modes of cognitive accessibility. The video can only be seen, and indeed only seen from certain points of view; the building , by contrast, can be seen, smelled, heard, or even tasted, and can be observed from any point of view. Click here or on the floral patttern above to view ( 00'.31'' , 1.4 MB, mp4/quicktime )