Mnestic Pressure takes a distinct approach to the effects different phases of digital abstraction have on our individual memory. Melding analogue video synthesis, VHS distortion, datamoshing, motion vectors and photogrammetry – the techniques of image production and their intermediation of our memories become one in the same. Left to our affective responses and emotional feelings, those to become all too malleable under pressure.
“The process began with a short lm of a place and a moment of no event. A woman waits at a bus stop, a man looks up from his phone, a crowd goes nowhere. The film is chopped and screwed, bent and mashed until only the contours of discrete aspects re- main. Phasing into tones from the record, these subjective facets trace imaginary forces and the endless possible sources of mnestic pressure.
Sombre bleeps and tones, point clouds and wireframes. Break- beats repeat as datamoshed noise, abstract jungles with bro- ken tracking, midnight interiors, flashing shadows of motion. A cheery ebullience quivers above metronomic footwork. Geometries of future developments slide in lock step beneath sharpened noise. Diffraction patterns on a stunned retina break into a final rawing coda of noise. Rushing and bursting light and col- our, ungraspable form and saturation.”