ABSTRACT
This chapter explains the Kentridge technology of filmmaking is devoted to the invention of a particular visual aesthetics, an aesthetics that explores visibility as a possibility that is defined by Heidegger's 'cloud'. This cloud structures the interplay of memory and oblivion, and insofar as these are considered in the field of vision, of looking and not looking. William Kentridge's video artwork Felix in Exile is about the crossing of this double-edged activity of looking and not looking. The technology of artificial satellites is marked by a similar visual dilemma that qualified Blumenberg's telescope. The satellites orbiting earth produce an encompassing and united information space by overcoming the globe's natural spherical shape. Kentridge's idiosyncratic inscription technology induces an impossible look that abrogates the horizon as a limitation of vision and reinstalls it as a contact line where the Northern and Southern hemisphere come together.
