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The most patient piece of work in recent memory is Michael Apted's remarkable documentary TV series, 'Up'. In 1964 he filmed a bunch of 7-year olds from a variety of social backgrounds across Britain, and has since continued to document their lives every 7 years. The next installment is due in 2019, when his subjects will be 63. It's effect is quietly brutal.

Here we'll consider the ways in which work can register *time*, and why we might want it to do so. We'll move from the particular to the general, starting with a consideration of how time is written into the surface of a single piece of work – what it looks or reads or feels or sounds like. Then we'll observe how particularly drawn-out projects get palimpsestuously revised, refined, overwritten. Finally we'll see how a particular working ethos plays out across an entire body of work over a long term. 

Alongside Apted's series, we'll look at a wide variety of examples from across the arts, assemble a bank of relevant reading, and observe how the class itself changes over the course of the year.

Further reading for the time being, in this order: 

 

 
 

  

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