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• W1998539931 abstract "Click to increase image sizeClick to decrease image size Notes 1. Brian Rotman, ‘Going Parallel’, Substance 91, 29:1 (2000), pp.56–79 (p.56). 2. Gilles Deleuze, ‘Ethology: Spinoza and Us’, in Incorporations, ed. Jonathan Crary and Sanford Kwinter (New York: Zone Books, 1992), pp.628–33 (p.625). 3. 7 Fragments for George Melies and Day for Night, installations by William Kentridge featuring eight video projections, 2003 and 9 Drawings for Projection, directed by William Kentridge (includes the films Johannesburg, 2nd Greatest City After Paris (1989), Monument (1990), Mine (1991), Sobriety, Obesity and Growing Old (1991), Felix in Exile (1994), History of the Main Complaint (1996), Weighing … and Waiting (1997), Stereoscope (1999), Tide Table (2003)) (Gatehouse Productions, 2005). 4. Cited in Maureen Furniss, Art in Motion: Animation Aesthetics (Bloomington: Indiana University Press, 1988), p.5. 5. Jane Bennett, ‘The Agency of Assemblages’, Public Culture, 17:3 (2005), pp.445–65 (p.447). 6. Brian Massumi, Parables for the Virtual: Movement, Affect, Sensation (Durham: Duke University Press, 2002), p.5. 7. Shelley Esker, Bill T. Jones and Paul Kaiser, Ghostcatching (installation) (New York: Riverbed Studios, 1999). 8. See Paul Kaiser's ambivalent discussion of elegy, ‘Frequently Pondered Questions’, discussed below, and other essays from Envisioning Dance on Film and Video, ed. Judy Mitoma (New York: Routledge, 2002), pp.108–12. See also Andre Lepecki, Of the Presence of the Body: Essays on Dance and Performance Theory (Middletown: Wesleyan University Press, 2004) and Exhausting Dance: Performance and the Politics of Movement (New York: Routledge, 2006). For discussions of animation in terms of models of ‘half‐life’ see Alan Cholodenko, ‘The Illusion of a Beginning: A Theory of Drawing and Animation’, Afterimage (July 2000), pp.9–13. 9. Dan Cameron, ‘An Interview with William Kentridge’, in William Kentridge, ed. Michel Sittenfeld (Chicago: Museum of Contemporary Art, 2001), pp.67–74 (p.77). 10. Meaghan Morris, ‘Great Moments in Social Climbing: King Kong and the Human Fly’, in Sexuality and Space, ed. Beatriz Colamina (Princeton: Princeton University Press, 1992), pp.1–51 (p.41). 11. Neil Benezra, ‘Drawings for Projection’, in William Kentridge, ed. Michel Sittenfeld, pp.11–28 (p.14). 12. Carolyn Cristov Bakargiev, ‘Carolyn Christov‐Bakargiev in Conversation with William Kentridge’, in William Kentridge, ed. Carolyn Christov Bakargiev (London: Phaidon, 1999), pp.6–35 (p.8). 13. Carolyn Christov Bakargiev, ‘Drawing with Ants and the Illumination of Shadows’, transcript of an interview at the Museum of Contemporary Art, Torino, Italy, 2004, ⟨http://www.mca.com.au/general/Kentridge_Christov‐Bakagiev_02Sep04.pdf⟩ [15/5/2007]. 14. In doing so, Kentridge activates a space of viewership that in some ways extends the ‘dance’ of his own production process to the museum viewer as well. In his work with the Handspring Puppet Company, the puppeteers are always visible, though discretely dressed in black, alongside the puppets, inviting a kind of constant shifting of attention of the part of the viewer's eyes; similarly, in theatrical and operatic productions directed by Kentridge, animated images often double the actions of actors in their projection behind or above the stage. 15. William Kentridge, ‘Felix in Exile: Geography of Memory’, in William Kentridge, ed. Carolyn Christov Bakargiev, pp.122–27. 16. William Kentridge: Drawing the Passing – Zeichnen für den Augenblick, dir. Maria Anna Tappeiner and Reinhard Wulf (German United Distributors, 1999). 17. Rosalind Krauss, ‘The Rock: William Kentridge's Drawings for Projection’, October, 92 (Spring 2000), pp.3–35. 18. Rosalind Krauss, ‘The Rock: William Kentridge's Drawings for Projection’, pp.5–6. 19. Dan Cameron, ‘An Interview with William Kentridge’, p.67. My italics. 20. Dan Cameron, ‘An Interview with William Kentridge’, p.68. 21. For a discussion of presence in contemporary performance and media theory, see Philip Auslander, Liveness: Performance in a Mediatized Culture (New York: Routledge, 1999) and Andre Lepecki's Exhausting Dance: Performance and the Politics of Movement. 22. Michael Godby, ‘William Kentridge: Retrospective’, Art Journal, 58:3 (1999), pp.74–85 (p.75). 23. Carolyn Christov Bakargiev, ‘Drawing with Ants and the Illumination of Shadows’. 24. bell hooks, ‘Breaking Down the Wall: South African Artist William Kentridge’, Interview (September1998). ⟨http://findarticles.com/p/articles/mi_m1285/is_n9_v28/ai_21076329⟩ [4/12/2007] 25. Gilles Deleuze, ‘Ethology: Spinoza and Us’, p.626. 26. See for example, Staci Boris: ‘with each erasure, each addition, and each surprising way in which one image flows into the next, the workings of the artist's mind become evident’ (p.32) – as though they are not transformed by process but merely pass through is movements and waiting. She then footnotes this with reference to his work with Handspring Puppet Company and its visible puppeteers as a means of ‘forcing those who view them to be reminded of the artificiality of the presentation’ (p.37), an opinion contradicted by Kentridge but also by the works themselves. Staci Boris, ‘The Process of Change: Landscape, Memory, Animation, and Felix in Exile’, in William Kentridge, ed. Michel Sittenfeld, pp.29–38. 27. Brian Rotman, ‘Corporeal or Gesturo‐Haptic Writing’, Configurations, 10:3 (2002), pp.423–38 (p.435). 28. Brian Rotman, ‘Corporeal or Gesturo‐Haptic Writing’, p.434. 29. Georges Melies was a French filmmaker and magician working at the birth of cinema and is considered cinema's first ‘special effects’ artist, developing techniques to create effects such as disappearances and double exposures. 30. In Drawing the Passing, Kentridge notes that he frequently used himself as a model for Soho and Felix, as his slow work process made a live model in studio impractical. Thus his photographed presence in 7 Fragments should be understood as part of a continuum with these other ‘modes of incursion’. 31. Carolyn Christov Bakargiev, ‘Drawing with Ants and the Illumination of Shadows’. 32. Carolyn Christov Bakargiev, ‘Drawing with Ants and the Illumination of Shadows’. 33. By ‘already existing’, I suggest these objects do have the liveness characteristic of all bodies, but that if bodies can be defined by rates of speed and slowness, they are moving at a very slow rate indeed. It is not simply that animation can reveal this movement by means of macroscopic photography or time‐lapse images, allowing us to perceive movements invisible to the naked eye. Instead, animation can give us a different perception of an object's liveliness by dehabituating perception; as I have argued, this should not be understood as simply lending an ‘illusion’ of liveliness to otherwise inert objects. 34. Carolyn Christov Bakargiev, ‘Drawing with Ants and the Illumination of Shadows’. 35. Kentridge's drawings are always characterized by the proliferation of specks of charcoal, which haze the certainty of gesture; here, in the juxtaposition of the moving ants with charcoal drawings, the ants are the points (specks) and lines of the charcoal drawings in a different form. 36. Gilles Deleuze, Cinema 2: The Time Image, trans. Hugh Tomlinson (Minneapolis: University of Minnesota Press, 1989), p.201. 37. Gilles Deleuze Cinema: The Time Image, p.202. 38. Laura Mulvey, Fetishism and Curiousity (Bloomington: Indiana University Press, 1996). 39. Margaret Morse, ‘Sunshine and Shroud: Cyborg Bodies and the Collective and Personal Self’, MediaKunstNetz 2005, ⟨http://www.medienkunstnetz.de/source‐text/117/⟩ [13/8/2007]. 40. Paul Kaiser, ‘Frequently Pondered Questions’, pp.111–12. 41. Paul Kaiser, ‘Frequently Pondered Questions’, p.112." @default.
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• W1998539931 title "Wandering Stars: William Kentridge's Err(ant) Choreographies" @default.
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