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Dean has herself commented that these boards fuse the conventions of the storyboard with those of the production still: both the before and the after of the cinematic event. Celluloid film is composed of a linear sequence of discrete but continuous photographic stills, which are passed through the projection apparatus to give an illusion of movement, the eye filling in the infinitesimal gaps between frames. Each frame is an index of a moment in time, automatically registering the fall of light across its surface, a field which will therefore include a host of contingent and unintended details.

Drawings, too, are composed of a series of indexical traces, sometimes remaining discrete and sometimes not. Each drawn mark, whatever else it also does, refers to a passage of activity, and these traces then combine on a single surface to produce an image whose reception happens in time and involves movement, although that movement of course belongs to the eye and mind of the viewer rather than the mechanical projection apparatus.

Likewise, the gaps between marks are also dilated and indeterminate. Drawing couples the actively willed with the passively received, the intentionally directed with the non-conscious desires of the hand. Such attention would encourage an exploration of the drawing process, and specifically of what happens in the temporal gaps between strokes. Kentridge begins drawing with a stick of charcoal and at intervals walks to his film camera, shoots one or two frames, then returns to the drawing; he makes marginal erasures, re-photographs and then redraws.

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One example Kentridge provides arose while he was working on Mine fig. There was no feeling of what a good idea I had had, rather, relief at not having overlooked what was in front of me. I use a fairly heavy piece of charcoal, about one and a half inches in diameter. The crudeness of it is important for me. A space for many different trajectories of an image, where sequences can suggest themselves, to be tested as internal projections. This pacing is often in relation to the sheet of paper waiting on the wall. As if the physical presence of the paper is necessary for the internal projections to seem realizable.

The physical size and material enforce a scale, a particular starting point, a composition. The myriad of possibilities is called to order. There is something about the act of drawing that reflects the process of labour … It is the appearance of work, making visible the hours on the paper. In an era in which the human labour in everything was clear, there was something utopian in making art appear effortless or at least miraculous.

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Now that we take the impossible for granted — digital animation, Photoshop the invisible workings of a computer compared to the very visible and audible mechanics of a typewriter — there seems a place for showing physical process. And through this mental process; this is not clear, but some impulse in this direction sits in my guts — not that they are to be trusted either. To glide above [the demonstration of the agency of labour], working only the realm of the conceptual, using hired hands to do the actual labour has been tainted here, or made impossible by the image of the white overseer in his shorts in the shade, watching a gang of labourers doing the work.

Not to say that this is necessarily an accurate image, and even though labour is less visible in Western Europe and North America, I do understand it is still there — but the image and its shame are more present here. The work consists of a series of sixteen photographs each 50 x 50cm of a single blackboard, taken by the artist over a period of weeks whilst studying at the Slade in the exact timing of each photograph and the length of the intervals between shots were not recorded.

The photographs offer a fragmentary record of a working studio tool, the panel having functioned as a screen for the projection of thought, indexed in the form of sketches, diagrams and notes, rapidly set down and soon rubbed away. Rather than charting the progress of a single project, Sixteen Blackboards witnesses the emergence, recession and sometimes cohabitation of several lines of enquiry emerging simultaneously. While many images clearly relate to specific films made by Dean, many drawings and notes remain unanchored from particular works realised in film. The introduction of collaged elements, complete upon arrival and removed with no residue, foils this cloudy texture of inscription and unbecoming.

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The use of the blackboard as an artistic device evokes the examples of Cy Twombly and Joseph Beuys, two important artists for Dean. There is no thought that is not accompanied by a physical sensation of effort or agitation if only a knitting of the brows, a pursing of the lips, or a quickening of the heartbeat. This sensation, which may be muscular proprioceptive , tactile, or visceral is backgrounded. It means that it appears as a background against which the conscious thought stands out: its felt environment.

The words appear on screen, in being read. Reading is the qualitative transformation of alphabetical figures into figures of speech and thought. This is an analogue process. Like electricity into sound waves. Or heat into pain. Or light waves into vision. I was having a conversation with a friend of mine recently. He is an older man with grandchildren in primary school. He mentioned to me that his youngest granddaughter, eight, asked for an iPhone for her birthday this year. He told me how surprised he was; he thought his granddaughter would want a new Barbie or some other toy, not an iPhone.

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Today, because of the rapid improvements in technology what we have available to us is here to stay. But with this dependency on technology now evident in younger generations, it is no wonder that parents anxiously debate questions like — How much technology is too much? When used properly, technology in the classroom can be a useful tool for improving academic outcomes for children of all ages and GEMS Schools provide learning environments that embrace technology as an important part of the educational learning and teaching.

Research has shown that when used correctly computers and other forms of interactive technology, can play an important role in developing the brain of toddlers. One example of this is the multi-touch screen table tops digi tables that are in use at Little GEMS International preschools. These resources are helping young children develop their curiosity, problem solving and independent thinking skills.


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This technology friendly approach has class time split, where there is traditional teaching and instruction and then the rest of the time is spent in self-guided learning, using computers or tablets. In terms of getting the kids working together and motivating them, the teacher is most important. Technology is used as a tool to appeal to all learning styles and levels. It is used to create innovative teaching and learning opportunities, that not only satisfy the different learning styles of students, but it also allows for exciting new lessons that ensures the students remain interested.

At GEMS Westminster School — Ras Al Khaimah, one of our active goals will be to provide our parents with the understanding and tools to help their children be smart, safe and responsible users of technology. Through the Parent Engagement initiatives offered across all our schools, parents can learn about the basics but can also learn about things that go way beyond just Internet safety.

There will be a focus on the things we are shifting to like: blended learning, digital pedagogy, tech integration, digital citizenship, practical tips for parents to support learning at home, plagiarism and ethics, etc. My best advice would be to set aside time each day to offer help, or to use technology together in some way, and this should go beyond just watching TV together. In the event that such circumstances cause the Company to miss a scheduled Service Session, the Company will use commercially reasonable efforts to re-schedule a mutually convenient Service session within a reasonable period of time.

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