Our grasp of time continues to change, in wrenching ways. This is an exploration of these shifts and struggles, across drawing and text, music and movement, film and concepts. In the late nineteenth century, time was coordinated: towns, cities, whole countries lost their “own” time as signals synchronized clocks. When Albert Einstein introduced his radical idea undermining the notion of a “universally audible tick-tock” in favor of times not time, he found resistance furious; and in our own era, time is again in tumult—time crossed with information, challenged at the horizon of black holes, even, among many string theorists, rendered a mere illusion. In a congenial long-term collaboration, Peter L. Galison, historian, author, filmmaker, and Professor of the History of Science and Physics at Harvard University and South African artist William Kentridge are researching such notions in The Refusal of Time, a project for dOCUMENTA (13) into which this notebook offers first insights. Language: German/EnglishWilliam Kentridge (*1955 in Johannesburg, South Africa) graduated from the Witwatersrand University in Johannesburg with a degree in politics and African Studies in 1976. From 1976 to 1978 he studied printmaking at the Johannesburg Art Foundation. In 1981/82 he took pantomime and acting classes at the École internationale de théâtre Jacques Lecog in Paris. His work has been seen in many solo and group shows since the 1980s. Five Themes, for instance, was shown in 2010 at the MoMA in New York, the Jeu de Paume in Paris, and the Albertina in Vienna. Kentridge was a participant in the documenta X (1997) and Documenta11 (2002), and is now represented at the dOCUMENTA (13) (2012). He is the recipient of various prizes, including the 2003 Kaiserring from the City of Goslar, and the 2010 Kyoto Prize for Art and Philosophy. The artist lives and works in Johannesburg.