The out of focus had to transform from a classic medium of hiding to an original one of visualizing the fine line between what exists and what suddenly no longer exists.' The resulting unfocused image was completely physical and concrete, although it represented something apparently abstract as a memory. The significant challenge was to find a new language regarding the alienated and distorted humanoid shapes that I got by simply turning the focus ring. In fact, everything is destined to corrupt and deteriorate, including the digital file of this short film during its playing time. For this reason, I wanted to study a process of breakdown of the video itself (through a Datamoshing process). When our very last photo disappears, it is like we physically never existed.īased on this perspective, also my short film could be forgotten, destroyed or lost in time. I was fascinated by the ironic contrast that firmly links importance and irrelevance of a memory. Through ‘In Memory Of’ I wanted to deal precisely with this emotional ambiguity related to oblivion. These often represent our last testimony of time on Earth, but nevertheless they are sold at very low prices with no sentimental value. 'Going around flea markets, it is easy to find old photos.

In memory of those who no longer exist, neither as a face, nor in our memories, nor in a short film.

Oblivion gradually consumes everything, destroying every possible illusion of eternity. How does a fading memory look like? A forgotten person faces the material disappearance of what it passed.

Datamoshing video processing