A visceral, absurdist ride through Breakdown Britain. Part ritual, part exorcism, Wormhole of our Formation charts a fragmented personal journey across the disorienting landscapes of austerity and ageing. From the monotony of bed and breakfasts, money concerns and motorway closures – armed with a wind machine, artist Catherine Hoffmann uses warped music and searing text to immerse audiences in a surreal, transcendental point of collapse, as Tetley tea bags pile high and scrambled eggs congeal. Filmed in 360º this is the first of a 4 parts immersive experience.

This film is a specially commissioned version of its one hour long original, offering a unique opportunity to experience Beckett in Folkestone. Through this film, you will walk in the footsteps of a mysterious performer personifying both a member of the public and Beckett himself. The original film was premiered at Creative Folkestone Quarterhouse in June 2021 as part of Folkestone Book Festival. In March 1961 the author of Waiting for Godot (1955), Samuel Beckett (aged 54), mysteriously booked a room for two weeks at the Hotel Bristol on the Upper Leas in Folkestone under his middle name, Mr. Barclay. Beckett was keen that his Folkestone marriage to his long time partner Suzanne Dechevaux-Dumesnil remain a secret and so during his stay he was deliberately stealthy for fear of being recognised. To mark the 60th anniversary year of Beckett’s wedding in all its intrigue, Folkestone Book Festival commissioned an indoor-outdoor promenade event which audience members experienced one at a time. This included three short fictional monologues specially written by acclaimed writers, Helen Oyeyemi, Rupert Thomson and Eimear McBride in which they portray three Folkestone residents who observed Beckett during his stay - a receptionist at the Hotel Bristol, a local stringer for the Daily Express newspaper, and a witness, possibly invited off the street, to the wedding at Folkestone Registry Office. Initially commissioned as documentation of the promenade performance the Beckett in Folkestone film, shot entirely on 360° format, now has a life ofits own as an innovative and experimental film. The film was funded by CUPIDO, a project supported through the Interreg North Sea Region Programme which is part of the European Regional Development Fund.

The Peripheral Every time I look through a lens I induce my eyes to a distortion, even if minimal, I prompt an alteration on what I see, what I perceive, what I memorise. I trigger a frame that automatically include and exclude important information. I become interested on 360 perspective because I wanted to free myself from that heavy responsibility of choosing the best point of view neglecting the equally important frames that connect me to reality. After all, the best point of view is the standard, the recognised one, the conventional, approved, most reliable and authoritative. In any case by holding the camera on my hands and clicking the button I reduce all the possible point of views into the frontal. Yes, the magical complexity of viewing gets flatten and recompose into a thin surface and displayed as the absolute frontal. Initially I got really excited by the 360 camera and its potential to give space to the peripheral. In my opinion the peripheral manifests itself as a deep visual voice charged with ancestral experience that is calling for a transformation against fixed and authoritarian perspectives. Looking with my bare eyes the peripheral sits on the blurry edge of my vision. Most of the time I forget about its existence. It takes a lot of energy to focus and place attention toward the vague and appreciate the foggy details of the doubt as a font of knowledge. The peripheral vision requires our imagination to reach definition. The peripheral escapes any imposition of fixed systems because it depends on interpretation, on adjustments, adaptations - and its wisdom reveals itself by being situated in the equivocal. The peripheral can help us to decenter supremacy and moderate our ego. The peripheral reminds us to question certitude, evidence and truth as mechanisms of control for the benefit of some. The 360 viewing is for sure an expansion and aperture of our field of vision toward larger frames but unfortunately it annihilate the magic of the peripheral by stitching a fix composition over the mystery of the real.