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![Figure 4: Cover of de la mettrie, J.o. 1974[1748]. Man a machine....](profile/Elfriede-Dreyer/publication/308597174/figure/fig3/AS:651537797877770@1532350124143/Cover-of-de-la-mettrie-Jo-19741748-Man-a-machine-Frenchenglish-edition-illinois_Q320.jpg)
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, technologic...
Citations
The novel Coronavirus disease (COVID-10) which was declared a pandemic in March 2020 has disrupted learning programmes that rely extensively on work-integrated learning (WIL). This article reflects on the use of the 2016 online reverse video challenge as a remote learning alternative to WIL in the technical theatre stream of the Diploma in Performing Arts at the Tshwane University of Technology (TUT). A reversed intention practice-based assessment (or reverse video assessment) project was designed for the students to approximate the skills required for theatre technicians. This article is a conceptual exploration of the reverse video assessment design that involved exploring trends in reverse footage on online platforms and the professional practice of renowned South African artist and theatre maker, William Kentridge. The needs of contemporary South African students to be “tech-savvy” while faced with limited resources, was aligned with the requirements of the embedded simulated WIL curriculum. The reverse video assessment adopted a design research approach through the lens of play theory to conceptualise the edutainment approach to learning to relieve student anxiety during the pandemic. The assessment focused on three stages of development, namely, abstract thinking, three-dimensional object manipulation, and sequential organisation, which collectively result in a pragmatic creative process. The article will contribute to the remote learning body of knowledge which has come under greater focus during the pandemic. The ongoing pandemic necessitates a remote learning alternative to WIL to ensure continued learning without risking the health of students. The flexible nature of the reverse video assessment allows for the application thereof to different fields and levels of study
This chapter explores the theoretical question of the dispositif through the theme of time as lived experience and cultural construct. The notion of the dispositif is useful in three ways in considering moving image installation: the term can be used to describe the internal organisation and realisation of an individual work, the media forms it utilises, and the wider cultural systems it engages with. This flexibility makes it a useful concept through which to understand moving image installations, which are by nature combinatory. Through readings of Christian Marclay’s The Clock (2010), William Kentridge’s The Refusal of Time (2012), Lisa Riehana’s in Pursuit of Venus [infected] (2015) and Sondra Perry’s Typhoon Coming On (2018), I make a case for the combination of media forms, including archival ones, as a way of generating historical awareness and critique. The postcolonial perspective of most of the key works discussed in this chapter highlights the ideological functions of dispositifs, and the critical potential of works in which they are deconstructed and reassembled.
