Retentions 1 - 4 explores the iterative trajectory of the film frame using various techniques of micromontage. Just as in certain kinds of nonstandard synthesis, new forms of sound are produced by means of recursive time-modeling techniques, it is possible to redefine visual events by applying procedures involving self-replication and the decomposition of the video stream. In Retentions, an attempt has been made to rework the idea of cinematic "montage consciousness". If the individual frame could be submitted to processes of recombination through random selection, it might be possible to modify the experience of cinematic time. The event process chosen was selected for its distinctive gesture signature. This ready-constituted content, consisting of continuous movements through space, made it possible to control how an event stream unraveled and was absorbed into its own trace. In the sound track of Retentions, micro-level patterns contribute to the overall organization and to the emergence of 2nd-order sonorities. The sound and image are separate and independently evolve in a singular way. The structure of the sound mirrors the convulsive nature of the image because similar methodologies inform the making of both.