The memory of a city is based on the architecture, monuments and the places of that city. The way we interpret our experiences in space and how we keep the images before our eyes, becomes our reality, through which we attribute meanings to our physical world. We fixed in our memory an analogous city, stuck in time, in spite of the changes of the real city. Gaston Bachelard on “The Poetics of Space” (1958) claims that "The unconscious stages. Memories are immovable and are more solid when better spatialized." The memories located in the region of intimacy are the ones that give us the sense of appreciation of places. The dream and the imagination that comes from memory trigger self-transformation. Without this possibility of reverie there is a narrowing of imagination and an accommodation in relation to reality. In the pursuit of a representation of a memory of the city, the question arises as to the most appropriate means of translating this analogous city. Rodrigo Vila uses super-8 film in a parallelism with the various images that we keep in our memory. We have the exact moment stuck in our thoughts spread out in countless images per second. They are photographs, they are movies and part of us controls the speed that the city, stopped in time, develops in our memories. Using a Super-8 camcorder, and old and already expired films, Rodrigo Vila captures images of the city that he later develops, through a craft process based on coffee, photographs and enlarges them as memories that arise and grow in our mind. Faded images that become more or less clear as we look at them, where our brain adds detail and context. As in a journey through time, where each image can send us to a different time from the captured one, in an attempt to attribute our own memories to the images of this analogous city.

Gaston Bachelard, "The Poetics of Space" ( La Poétique de l'Espace, 1958)