Current high-end digital imaging technologies are deployed in contemporary cinema, gaming and television to call up mythical phenomena from the past we can no longer find in any convincing actuality in the present: strange creatures of hybrid, paranormal or superhuman nature; strange lands which remain uncharted; distortions of time and space unavailable in the ordered (If deregulated) measure of urban life. But perhaps above all, such technologies have returned us that most modernist of myths which has dominated the political sensibility of industrialism, the city, and the revolutions which have more or less defined the political imaginary of the last 150 years: the mass.

Usually, the fabulations of current cinema and television deploy digital imaging technologies to present an (often sorry) amalgam of these formations: fantastical hordes of warriors or creatures from strange lands swarming to vanquish a few hardy individuals who form the narrative centre. We know how these scenes go. But we do not know what their fusion of archaic, pre-modern and modernist and post-industrial fantasms in fact amounts to other than another evening of clunky entertainment. Lynne Marsh isolates these current fetishes of narrative image production and subjects them to a forensic examination, not in order to demonstrate their evident fabrication or to expose their mythic status in favour of some supposed rational understanding. Rather, Marsh deracinates these characters / creatures, human-like ciphers, landscapes - recharging and enervating them in their own terms. We are brought into an immediate, often viscerally heightened encounter with them in their own right, unsubjugated to their standard narrative obligations but opened up and out to another kind of fulfillment which draws attention to their own character. In Marsh's work, these now standard tropes of digital imaging technologies are close to personified, become *subjects* for viewing rather than stage objects.

The invitation sent by Marsh's work is for the (dis)comfort of your involvement and empathy for what is without human expression and, at once, in its digital construction, entirely concocted by a wholly mediated fabrication, and so extra-human in that sense too.

PoCA (Political Currency of Art) is a research group based in London.