I mean we think of what we do as a kind of a post studio practice. When you have a group of people, a small group of people working very intensely, a certain kind of concentration and a certain kind of focus is necessary. So there's a certain functionality to the house which is really useful. We call ourselves the Otolith Group. That's myself, my name's Angelika Saga and this is Kerjo Eshin.
Calling ourselves the Otolith Group was a, it had a facelessness that we really liked. It enabled us to create a relation to traditions that we really respected, the traditions of collective filmmaking. Filmmaking is an inherently collective practice, whether you admit it or not. We make films, we curate exhibitions, we put on discussions. We call all of this in its entirety an integrated practice. practice is a term which came from the 80s, which was the aspiration to not just make films but to build a distribution system and an education system. So it's really the attempt to build a new film culture. On each film we tend to have a growing group of people.
We have our editor Simon Arazi. He has worked with us on the last two, three films now. Jamie, who works with us as our administrator, our producer, and a very, very smart young man. We have Brian Rogers, who just knows so much about all of the things that we're interested in and helping us research and helping us to do a number of different things. Tyler is somebody who's doing his MA in music, and he's working with us on a film that we've been commissioned to make for Manifesto. The whole surface of the sea, included in the picture, is divided into two ridges of enormous swell.
Well, the work has built an audience over the last decade. There is something demanding about the work. The work makes demands on its audience. It's a delicate operation. The world doesn't need any more films. The world doesn't need any more video art. So if you're going to bring an image into the world, you have to think it through.