Theatre & Performance

Step into a world where stagecraft meets cinematic excellence. Our video services seamlessly integrate with directors, dancers, and choreography, ensuring every movement is elegantly captured and translated into a visually stunning masterpiece

A Woodland Poem in Strings

Sector: Creative Industries, Entertainment

Services: video production, creative direction, video editing

A Woodland Poem in Strings is an examination of Lesnes Abbey Wood, London. The haibuns of Quentin S. Crisp examine the site culturally, ecologically, psychologically and poetically. Hannah Marshall’s improvised cello works are direct responses to the four locations in the woodland space. The project can be seen here.

Phoenix Garden

Sector: Creative Industry

Services: director of photography, director of performance, video production, video editing

Collaborative piece of work between Othermotion (production, direction), Jason Pidd (creative writing, graphic design), and Thea Kallhed (performance), set within the walls of Phoenix Garden in London.

 

As Othermotion orchestrates the visual and auditory elements, Jason Pidd’s narrative and graphic design provide the intellectual and aesthetic threads that bind the piece. Thea Kallhed’s performance becomes the living embodiment of the sensory journey, guiding the audience through an exploration of the nuanced beauty within Phoenix Garden.

Reverberating Interferences

Sector: Academia, Creative Industry

Services: experimental moving image production, multi-camera operation

Project directed and produced by Monika Jaeckel (Berlin) for her practice – based Phd at CREAM department, University of Westminster, London.
Othermotion was tasked with the production of experimental and interactive moving image, which became part of the performance. We were also responsible for filming the live performance on multiple cameras.

“Subject of this film experiment as a documentary essay (~ 18 min, 2021) is the performative research project, reverberating interferences – explorations into thingness, which filmed under the limitations of Covid-19 in late October 2020. Through patterns of movement and countermovement put in motion by bodies—human and nonhuman—the work intertwines indeterminacy (Barad) and the uncertainty of change (Rose). The performative research presentation intends to amplify ongoing interference reverberations before they become sedimentary and ingrained in planetary memory. These interferences, whether acknowledged or ignored, are expressions of human and non-human planetary others, which encompass all mattering forms. The research considered ‘noise’ as a kind of voicing that is opaque, but by no means negligible.” (Monika Jaeckel, 2020)

Screenings/awards:

The Fine Arts Film Festival
Venice, California
United States
June 10, 2022
Official Selection

WRPN Women’s International Film Festival
Rehoboth Beach, Delaware
United States
August 13, 2022
Excellence

FICIMAD
Madrid
Spain
June 9, 2022
Official Selection; Best Sound

Agency of The Apparatus

Sector: Academia

Services: director of photography, director of performance, video production, video editing

 Self-defined, collaborative project between Lilia Strojec (concept, video production, creative direction), Jason Pidd (graphic design, experimental technology), Hannah Marshall (cello), Imanuela Stawski (performance).

The process in this project tests the possibilities of producing a moving image with a focus on new technologies and the making of an image by teaching machine (the apparatus) the behavioural patterns.
The process of making is two-fold: one, that from the software-side and algorithmic patterns (data input), chance interactions, and that of the study of human motion and non-verbal being in the space-time realm (performance). Two of those aspects inform one another and take the form of learning through the exchange (circular movement).

“Resembling the act of exchange of two (human) bodies in space-time I focus on the movement as a form of communication and interaction performed outside of human-to-human relations. I aim to build an environment in which the apparatus of moving image takes the form of the agent (non-human) by giving it the opportunity for ‘becoming’, through the exchange, through the act and re-act, the interactions with another agent (human or non-human). By giving the apparatus the agency, I create an environment in which the moving image is no longer the product of an artist/filmmaker. The artist and the apparatus are in the process of working through one another, not for another. The point in which the artist/filmmaker gives the agent (the moving image/the apparatus) its power to act, to re-act, make, re-make itself, and to engage through (and with) the viewer comes to being in the stage of the edit.
The conscious order of elements (the montage) is replaced by the artist/filmmaker through teaching the machine (the apparatus) to become an independent form.
The artist is the creator but not the mediator. The medium is no longer carrier of a message, the medium becomes an agent. The camera (the apparatus) acts as the externalisation of fragmentary passages between the agents.” (Lilia Strojec, 2020)