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For over 20 years, the legacies of colonialism have been recurring themes in William Kentridge 's work. In , he was awarded an honorary doctorate degree from the University of Pretoria in South Africa in recognition of a practice that has consistently charted 'a universal history of war and revolution, evoking the complexities and tensions of postcolonial memory and imaging the residual traces of destructive policies and regimes. Since , Kentridge has utilised stop-motion animation, film, performance and sculpture to depict the sociopolitical condition of his native post-apartheid South Africa. The exploration of the concept of time—how we mark its passage, how it shifts our intuitions, and how it relates to complex legacies of colonialism—is at the centre of Kentridge's five-channel video installation, The Refusal of Time Galison, and encompasses sound, drawings, text, film, sculpture, and performance. The opening sequence features metronomes across the five screens, beating out the timing for the work like a pulse or heartbeat in synchronicity. But this anchoring is soon lost as the screens proceed to flicker with a continuous flow of moving images featuring: Kentridge's signature stop-motion charcoal animations; repetitive live-action sequences such as the artist climbing over a chair giving the illusion of motion; there are books and pages with various unrelated phrases; there is a section representing the blowing up of the meridian where a dancer, Dada Masilo, dances around flying pieces of paper invoking a collapse of order; and similar blown-up pieces of paper reconstruct into coffee pots, animals, and the human body.