Through technical control mechanisms we try to tame the error. In this attempt at subjugation, which affects not only language but also images, the perfect image is an aggressive act of separation, between defined technically good and inferior material. However, the separation does not start with the technical execution, but rather cuts the imagination right from the start. A technically inferior picture can create the space for coincidences, mistakes and other forms of aesthetics that do not suffer from the dogma of the standardized picture. In my work Strange Memories I investigate this process and comb through VHS material for images that are generated from errors. By superimposing half images, combined with movement, worlds of images are created that create new space for interpretation. The resulting images remind us of the past, of dreams, of the naive, longing look one likes to cast into the past. A memory, which becomes archetypal for a whole generation, because we all have saved these pictures in our heads.