It's an interesting concept but in this case the execution leaves something to be desired.
The technique is not without precedent either as in the past there have been quite a few attempts to explore the boundaries of photography, stillness/movement and that grey area before it turns into a filmic event. Muybridge and Murray come to mind, though perhaps the most relevant and succesful application is to be found in Marker's 'photo-roman' La Jetée (the brief moment when the girl flutters her eyelids). From the side of cinema, the converse was done by Warhol when he experimented by taking away narrative and motion from film e.g. in Sleep and Screen Tests.
On a personal, related note, I was visiting a friend in LA many years ago, and we went into this bar for a drink, apparently a hip place, if a tad odd too, with big photos on the walls. As time went by I suddenly started feeling somewhat uneasy, though I didn't know why. After some time I looked at the photos and realised there was the faintest motion in them, not terribly unlike the images linked in this thread. For a split second I was completely stunned -- a category shortcircuit in the brain no doubt. I can't remember the bar's name, I have to ask my friend some time.
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