Describe Paul Kos’s Chartres Bleu and evaluate the strength of its aesthetic impact for modern audiences, compared to that of the original stained glass at Chartres

Please provide the best answer for the statement.

1. In 1982, Paul Kos noticed that his art students were making faster and faster edits in their video work, imitating what was going on in mainstream advertising and television. Kos believed that video could be a contemplative medium, slower and more deliberate than commercial television, one which might therefore engage the viewer in more meaningful ways, and took on Chartres Bleu to demonstrate these ideas.
2. In France, he went from cathedral to cathedral looking for a window the individual panes of which had the same aspect ratio as a television monitor—that is, 4:3. He finally found three, one of which was the Life of the Virgin at Chartres. Kos received official permission to film the window and simulate the course of 12 hours of daylight shining through each pane, which it condenses into 12 minutes. Kos’s finished piece, Chartres Bleu, consists of 27 television monitors, turned on their side, one for each pane of The Life of the Virgin.
The two works, almost identical in size, are separated by 800 years—and their vastly different technologies.
4. Students’ evaluations of the impact of the two works will vary.