Motion is as fundamental to poetry as it is to cinema, and both mediums are put together in similar ways (through sequences of [sometimes close and sometimes seemingly disjunct] events themselves linked by sequences of conjunctions along trajectories that are arrayed through time and space) and out of similar materials (stills). The sequences (and a number of sequences of different “sets” may be underway at any given time) excite both retrospection (memory) and anticipation (logic). Since sequences (even those we call syntax) imply consequences, they also provoke concern — they excite the sense that there is meaning or the desire to make meaning. Just as there are no frozen moments, there are no motionless meanings. (Lyn Hejinian, ‘Motility’)
The texts that comprise Motion Study's "stills" were written to overlie 24 prints made from still-frames of a parallel video experiment. In light of this, the texts could be imagined to function like screens. Some texts were also published separately in journals including Pages, Skald, and HOW2 — and, in translation, in the Serbian journal Treci Trg.