David Claerbout’s recent video and photographic works generate a distinct temporal aesthetic. In particular, these works experiment with time by situating the historical past not as a discrete moment in time, but rather as an actively engaged part of the present moment. Through the use of digital technologies Claerbout re-presents, experiments with, and opens up time as non-linear and complex, in effect producing a new experience of temporality through a mediation of the past. Using Gilles Deleuze’s concepts of time, informed (...) by Michel Serres’ and Roland Barthes’ work on photography, I explore a theory of time through these artworks in which the past is understood as transpiring within the present, attempting to understand Deleuze’s temporal concepts aesthetically, not just philosophically. (shrink)

In a series of non-Western films 13 Time and Winds, A Time for Drunken Horses, Turtles Can Fly and Buddha Collapsed out of Shame 13 contemporary child figures inhabit their world in a manner that demonstrates the child 19s resilience and their intimacy with the land. Drawing on non-representational theory and relating this to feminist theories of affect and subjectivity, the article suggests that these films present child figures for whom mobility has effectively become their ontology and that this demonstrates (...) that there may be a different form of kinship between the natural world and the child. This is not to romanticize this connection or to essentialize the child: this relationship is revealed not to be idyllic but affectively 18open 19 in a way that may be terrifying as well as liberating. (shrink)