The video is an abstraction of a plot, a mashed-up video footage, montaged and datamoshed, to produce a
visual and auditory generality. The samples used are chosen from current [2015] movie trailers which have
not yet been released to the theatres, in order to maximize the speculation of the produced video's
content. Instead of interfering with the linearity of the filmic motion, the digital image, and consequently its
content, gets fragmented. The transferring of the message to the viewer happens in an encoded way, such
that the viewer constructs his/her own narrative. There is no time nor space for the narration. Only bits of
them. The viewer is allowed a margin of decoding of what he/her sees and is left to recontextualize in
his/her own terms how to translate the incoming images and how he/her interrelates with the events. The
sound comes to reverse the dismantling of the image, trying to counterbalance the lack of a content form.
The technique used, as a means of facilitating abstraction, is Datamoshing.

“Datamoshing is a technique for producing videos that contain one or more unique expressions from
applied errors in the motion compensated inter-frame prediction used in video encodings.”

Each single video is connected to all of its neighbours in a way that makes the sum a system, interconnected
and closely dependent from one another. Bits, through datamoshing, are loosing their structural
arrangement, as an array constructing an object representation, and are instructed to perform outside their
usual framework. The result of the process followed and the relationship between the frames transcends
the, what would normally be, final image. The medium is used as a means to perform an empirical
manipulation of it. The primal matter of the video, the pixels, are being re-articulated by the meaningful
handling of the frames [I and P frames] which are reordered. The reordering results in pixels, leaking from
one video to another, blending their expression and content into an implicit mixture.

As abstraction can be seen as a compression process, the production of errors is inherent to the process of
compression , digital representation and replication. By deletion and insertion of fractions of footage taken
from movies, the phenotype of the final movie is destratified, altering its formal and conceptual traits
[meaning]. Even though the pieces are not logically connected to each other they aim to form a coherent
whole.

The actor is the medium in a scene made up of these video collections. Its articulation of the plot is
expressed by the destruction [or not] of the image by the one that follows. So the character is a digital/error
artifact, a false representation of the original, an immaterial object that exists only in the digital
environment and more specifically in the corrupted video. Thus the resulting virtual artifacts can only be
contextualized in the digital culture realm.

The content of the montaged videos [story] is being manipulated as much as their expression, their
discourse. The more their expression is changing the more the content gets more abstract. While the form
and substance of the content are left almost blank for the viewer to reconstruct, the form and substance of
the expression are manipulated in a way, where there is no determining meaningful result in the outcome
apart from that the viewer will give.