Of clocks ticking: heterotopic space, time and motion in William Kentridge’s The refusal of time (2012)

Abstract

In William Kentridge’s The refusal of time (2012), comment on time as both a scientific and a human entity is produced. A complex mix of the visual and nominal vocabularies of early ‘rudimentary’ technological invention, scientific experimentation and contemporary digital language characterises the artwork. Conceptually, the structural, technological and visual components of the work predominantly articulate figure tropes of space, time and motion. The work is explored through the lens of heterotopia as articulated by French philosopher michel Foucault, with special attention to the artist’s articulation of space, time and motion. the construal proceeds through the investigation of the visual metaphors implied by the organisation of space; the depiction of movement; time ticking; the allusion to human beings’ fascination with invention; science and technology; and the products thereof, especially the creation of automatons. interpreting the work as representing heterotopic temporality in space, it is argued that such heterotopic entities defy clock time as stringent ‘regular’ time. an examination is conducted of the meta-narratives on science and technology alluded to in The refusal of time, including mention of the early development of automatons; modernistic French thought; advancements in physics around 1900; and postmodern takes on science and technology.