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Where motion prediction is used, as in MPEG-1, MPEG-2 or MPEG-4, compression artifacts tend to remain on several generations of decompressed frames, and move with the optic flow of the image, leading to a peculiar effect, part way between a painting effect and “grime” that moves with objects in the scene.

Data errors in the compressed bit-stream can lead to errors similar to large quantization errors, or can disrupt the parsing of the data stream entirely for a short time, leading to “break-up” of the picture.

Where gross errors have occurred in the bit-stream, decoders continue to apply updates to the damaged picture for a short interval, creating a “ghost image” effect, until receiving the next independently compressed frame. In MPEG picture coding, these are known as “I-frames”, with the ‘I’ standing for “intra.” Video compression artifacts include cumulative results of compression of the comprising still images, for instance ringing in successive still images appear in sequence as a wiggly blur called “mosquito noise”.
The use of compression artifacts as a visual style, sometimes known as datamoshing, is produced by exploiting the way different video codecs process motion and color information. The technique was pioneered by artists Sven Konig, Takeshi Murata and Paul B. Davis in collaboration with Paperrad, and more recently used by David OReilly and within music videos for Chairlift and Kanye West.