Relevant bibliographies by topics / Kinetic sculpture

Academic literature on the topic 'Kinetic sculpture'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Kinetic sculpture"

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Witabora, Joneta, and Jonata Witabora. "Kinetic Sculpture." Humaniora 5, no. 1 (April 2, 2014): 398. http://dx.doi.org/10.21512/humaniora.v5i1.3038.

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Kinetic Sculpture was born from a long process of searching new approach in sculpture. The artists tried to escape from 'static' paradigm and tried to implement movement into their works: a sculpture that is mobile. Movement is always a fascinating phenomenon to eyes. Kinetic sculpture strength lies in its unique character in combining science and art. Kinetic Sculptures are really interesting pieces of art. It succeeds to fascinate human everytime.
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Yang, Li Li, and Yan Huan Wang. "Research on the Matrix Kinetic Sculpture." Applied Mechanics and Materials 201-202 (October 2012): 405–9. http://dx.doi.org/10.4028/www.scientific.net/amm.201-202.405.

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This paper first analyzed the development of Kinetic Sculpture, then proposed the new concept of the Matrix Kinetic Sculpture. By introducing two typical works of the Matrix Kinetic Sculpture, the paper summarized the unique characteristic forms. The paper researched the technology realization of the Matrix Kinetic Sculpture according to one typical case, including the distributed control system and the lifting mechanism. Basing on the Fluid Dynamics theory, the Shallow Water Equations has been applied to the feature design of the Matrix Kinetic Sculpture to enhance its beauty of moving shape. Finally the paper came up with several suggestions for the innovation of Matrix Kinetic Sculpture.
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Chau, Christina. "Kinetic Systems: Jack Burnham and Hans Haacke." Contemporaneity: Historical Presence in Visual Culture 3 (June 5, 2014): 62–76. http://dx.doi.org/10.5195/contemp.2014.57.

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The following paper argues that Jack Burnham’s antipathy for kineticism in “Systems Esthetics” and Beyond Modern Sculpture has contributed to an assumption that kineticism is an obsolete practice “rooted in another age.” Contrary to Burnham, I argue that a focus on the kinetic movement in Hans Haacke’s sculptures is productive for establishing key understandings of systems theory in art. My interpretation of Haacke’s art emphasizes that movement in time is a key aspect of the artist’s approach to sytems theory, and is useful for making viewers conscious of the systems of perception at play when confronted with ontologically unstable works of art.
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Nieman, Adam. "Welcome to the Neighbourhood: Belonging to the Universe." Leonardo 38, no. 5 (October 2005): 383–88. http://dx.doi.org/10.1162/leon.2005.38.5.383.

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Space travel could be an experience available to everyone. This paper describes Welcome to the Neighbourhood, a combination of sculpture and multimedia designed to help people inhabit the solar system (without leaving the earth). The project aims to empower astronomers and nonastronomers alike to form an authentic conception of their place in the cosmos. The author discusses the sculptures that inspired the idea for the project, including the largest known kinetic sculpture ever built (60 light-years across), and then outlines Welcome to the Neigh-bourhood in the context of a broader discussion of public engagement with science and the role of space art in transforming people's experience of “being in the universe.”
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Ibraheem, Muzher M., Abdulhalim A. Mohammad, and Ayser T. Jarallah. "Kinetics of Sulfur, Vanadium and Nickel Removal from Basra Crude Oil Hydro Treating." Tikrit Journal of Engineering Sciences 17, no. 3 (September 30, 2010): 1–14. http://dx.doi.org/10.25130/tjes.17.3.08.

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Basra crude oil was hydro treated in trickle–bed reactor using cobalt – molybdenum alumina as a Catalyst. The reaction range temperatures was598 – 648 k, while LHSV was 0.7 – 2 hr-1. The pressure and H2/Oil for all experiments keep constant at 3Mpa and 300 L/L respectively. Desulphurization and demutualization kinetics were studied and found that the kinetics of sculpture removal is of first – order, and the kinetic of vanadium and nickel removal is of second – order. Activation energy were calculated and their value are 24.03, 745.86, 63.90 KJ / mole, respectively for sculpture, vanadium, and nickel.
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O’Heir, Jeff, and Chehalis Hegner. "A Kinetic Sculptor." Mechanical Engineering 139, no. 04 (April 1, 2017): 42–47. http://dx.doi.org/10.1115/1.2017-apr-3.

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This article highlights different mechanical engineering works of Arthur Ganson. The fundamentals of mechanical engineering inform every piece of Arthur Ganson’s moving sculptures. Ganson, who is as much an engineer as he is an artist, works with unpolished steel, found objects, homemade gears, and roughly soldered wires. Yet he assembles them with such care that their movements create an elegant and mesmerizing beauty. His permanent installations tick, whiz, and hum at the National Inventors Hall of Fame in Ohio and at the Smithsonian Institution’s Lemelson Center for the Study of Invention and Innovation. His work has been featured at numerous museums and galleries around the world, and he has even appeared in ‘Muffy’s Art Attack,’ an episode of the children’s cartoon Arthur. While most engineers spend their careers hiding the pieces that make their machines move, Ganson reveals his. To construct each sculpture and engineer its movement, he relies on the fundamentals of mechanical engineering and physics the same way that a painter uses color theory as a guide for creating a visual effect.
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Ozer, Ahmet, and Ugurcan Akyuz. "The SPECIES OF THE KINETIC SCULPTURE." Idil Journal of Art and Language 6, no. 29 (January 31, 2017): 385–400. http://dx.doi.org/10.7816/idil-06-29-09.

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Emery, Lin, and Robert Morriss. ""Kinesone I": A Kinetic Sound Sculpture." Leonardo 19, no. 3 (1986): 207. http://dx.doi.org/10.2307/1578238.

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Greenwell, Douglas, and Eva MacNamara. "Aerodynamic design of a kinetic sculpture." Journal of Wind Engineering and Industrial Aerodynamics 99, no. 9 (September 2011): 908–18. http://dx.doi.org/10.1016/j.jweia.2011.05.002.

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Cheglakov, Aleksandr Dmitrievich. "Assemblage technique in creating modern wooden sculptures." Человек и культура, no. 4 (April 2021): 160–67. http://dx.doi.org/10.25136/2409-8744.2021.4.35982.

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This article demonstrates the manifestation of assemblage technique in modern wooden sculpture. The author describes the essence of this method. Special attention is given to another novelty of avant-garde culture – organic art, according to the philosophy of which, the world is depicted as organic whole, the uniform system with its own laws. The pedagogical system of M. Matyushin allows demonstrating the natural bound of man and nature in the artworks. Based on the developed creative method, the author indicates that contemporary art may combine such avant-garde trends as organic art and assemblage. Another important methodology that is similar to assemblage technique, and simultaneously verges upon the practices of kinetic art, is the creation of sculptures with spinning elements. The synthesis of techniques and materials allows expanding the boundaries of art by introducing into inartistic materials. The fundamental idea of this approach is to enrich the context of existence of the artwork and its history. It is stated that wooden sculpture allows the artists to experiment. The ideas and plotlines of wooden sculptures embody the artistic diversity of decorative and applied arts.
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Dissertations / Theses on the topic "Kinetic sculpture"

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Reas, Casey (Casey Edwin) 1972. "Behavioral kinetic sculpture." Thesis, Massachusetts Institute of Technology, 2001. http://hdl.handle.net/1721.1/62356.

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Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2001.
"September 2001."
Includes bibliographical references (p. 129-132).
As we enter the 21st century our culture has been significantly changed by the arrival of the internet and the proliferation personal computing and digital communications. As the decades progress, we will find ourselves interacting with machines more and more frequently, but what will be the qualities of these interactions? Through integrating information processing technologies into kinetic sculpture we are able to explore new methods of interaction. The concepts and experiments presented in this thesis as behavioral kinetic sculpture are the intellectual progeny of cybernetic art as evolved over the last thirty years through the development of interactive software, behavioral robotics, artificial life, and modern sculpture. This thesis defines the concept of behavioral kinetic sculpture as a unique category of expression through providing context, terminology, and a conceptual structure for its discussion and evaluation. This is supported through discussing the author's experiments in interaction and the behavioral kinetic sculpture, Trundle.
Casey Reas.
S.M.
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Gooch, S. D. "Design and mathematical modelling of the kinetic sculpture Blade." Thesis, University of Canterbury. Mechanical Engineering, 2001. http://hdl.handle.net/10092/7844.

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Christchurch born artist Len Lye (1901- 1980) built the kinetic sculpture, Blade (1965), as a prototype for what he perceived to be a much larger work. This thesis presents a study, which predicts the vibratory response of Blade and develops a design for the sculpture to be built at the largest practical economic size. Len Lye's aesthetic requirements stipulate that the vibratory blade form of the scaled sculpture must be geometrically similar to the original work and that static similarity should exist between the original and the scaled blades. Dimensionless formulae are derived and used to study the influence of design parameters and increasing size on structural properties such as natural frequencies, blade forces and moments, and system power requirements. For a solid metal blade of rectangular cross section it is found that the size, which Blade may be scaled, is limited by the magnitude of the bending stresses in the blade material. Len Lye's specification imposes a set of requirements and constraints on the design, which in addition to economic constraints leads to a variational study which maximises the number of performances per dollar expended on blade materials with increasing size. As a result of this study a titanium alloy 6AI/4V is selected for the scaled blade with a nominal blade length is 3.355m. To test the validity of the design, frequencies and mode shapes were calculated and a numerical simulation performed. The exact solution for the natural bending frequencies and mode shapes for the blade and the wand are obtained using simple beam theory. The Rayleigh Ritz method is used to calculate the plate frequencies and mode shapes for the blade. The calculated frequencies and mode shapes include the effects of the longitudinal gravitational loading. In this study they are the second and third blade bending frequencies and the third plate mode Len Lye described as the desirable vibrating single and double harmonic blade forms and the shimmering frequency respectively. For the simulation a mathematical model is developed to describe the dynamics of the interaction of the blade and the wand. The model predicted a swinging phenomenon, which Lye observed in the performance of Blade at the prototype size and regarded as undesirable. A system configuration for the scaled Blade involving a lighter more flexible wand and modified ground motion characteristics predicted a significant reduction of this swinging phenomenon and is incorporated in the design. Features in the design of the mechanism for the original sculpture were found to be unsatisfactory so a new improved mechanism concept was developed. The complete design was produced and the system was manufactured and built. The performance of the scaled Blade is found to be consistent with the prediction from the mathematical model.
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Nichols, Laura E. "The Icarus Machine : a kinetic sculpture that demonstrates gyroscopic precision." Thesis, Massachusetts Institute of Technology, 2005. http://hdl.handle.net/1721.1/32977.

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Thesis (S.B.)--Massachusetts Institute of Technology, Dept. of Mechanical Engineering, 2005.
Includes bibliographical references.
Inspired by the desire to unite aspects of art and engineering into a comprehensive whole, I have designed and manufactured a kinetic sculpture that demonstrates gyroscopic precession. The aim of this project is to explore the interplay between two seemingly separate fields, art and engineering, and the effect of their union on perception and learning.
by Laura E. Nichols.
S.B.
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Suresh, Martin R. (Martin Ravindra). "Introduction to kinetic sculpture : a one-week course for middle school students." Thesis, Massachusetts Institute of Technology, 2015. http://hdl.handle.net/1721.1/105719.

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Thesis: S.B., Massachusetts Institute of Technology, Department of Mechanical Engineering, 2015.
Cataloged from PDF version of thesis.
Includes bibliographical references (pages 49-50).
A one-week course in kinetic sculpture was designed to introduce middle school students to the marriage of art and engineering. Because art can appeal to different sensibilities than engineering alone, it can serve as a means to broaden perspectives of students with different motivations. In light of increasing emphasis on the development of programs in STEM (Science, Technology, Engineering, and Math) in U.S. education, this project fills a need for more opportunities in STEAM (Science, Technology, Engineering, Arts, and Math). Even though the availability and popularity of STEAM programs for children is growing, these opportunities for young children are still limited. Therefore, there is a market for a course that incorporates art and the engineering design process like this one. Daily activities in an introductory week-long kinetic sculpture course are defined. Each day's lessons are provided along with resources for further study. The structure of the course is based on sound pedagogical practice. The strength of the course is its ability to incorporate science and art in a fun way that will be appealing to students. Future work would consist of the expansion of the lessons with more detail for teachers and the addition of more alternate activities.
by Martin R. Suresh.
S.B.
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Vorhees, Chris. "A series of viewer interactive sculptures." Virtual Press, 1997. http://liblink.bsu.edu/uhtbin/catkey/1168144.

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The challenge of creating a dialogue between a viewer and an artwork is the next logical step in the evolution of my artwork. The problem is to find a way of creating art that does not only remain visual. By the same token, also to create something that does not remain purely conceptual and out of touch. In order to make the experience of encountering artwork more meaningful, a merging of physical and mental interaction in the viewer is strived for.This project serves as a tool for reflection on myself and understanding a way of working. It also provides an opportunity to clarify many of the beliefs and positions that I hold to be true in what I do in theory and practice. This project attempts to provide viewers new experiences with art through interaction.
Department of Art
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Donovan, McKeever. "The Building Breathes Together." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5482.

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The Building Breathes Together presents a realm of speculative, industrial habitation and alchemical production. In my instillation, I look to raise questions surrounding romantic notions of production and utility. The work introduces a surreal and haunted space of decomposition and regeneration.
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Watkins, Claire. "The Transformation of Electricity in my Brain." VCU Scholars Compass, 2004. http://scholarscompass.vcu.edu/etd/1062.

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This thesis is an exciting and enthralling story about the history of the world as seen through the eyes of Claire Watkins. The story takes place in the dusty corners of her art studio in the old confederate capital, Richmond, Virginia. Ms. Watkins leads her audience through such unsuspecting places as her brain, the life of an African Dung Beetle, the center of an atom and the dark reaches of outer space. The story is inspirational and thought provoking. It will force you to see the world as an interconnected web that weaves your life together with the cosmos. A must read for the summer!"Truly exceptional…a wonderful Thesis…highly recommended!" - Ruby Westcoat"I never thought of the world quite like that…now I see everything in a new and electrifying way." - Timothy Devoe"Once again she proves to be my favorite contemporary artist and author" - Virgil Hale Rhames
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Afonso, Luís Filipe Soares. "A relação da escultura com o som: as formas, os materiais e as técnicas." Doctoral thesis, Universidade de Évora, 2015. http://hdl.handle.net/10174/14708.

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A presente investigação tem como objecto de estudo a escultura sonora, centrando- se essencialmente na correlação de duas áreas, a escultura e o som. Procura analisar e definir a escultura sonora através de uma pesquisa interdisciplinar entre a ciência, a tecnologia e as artes visuais. Este estudo tem por objectivo analisar a origem do entrosamento entre a escultura e o som, caracterizando o que se pode definir como escultura sonora dentro do universo ambíguo das artes sonoras e o que a distingue de um instrumento musical. Neste âmbito, procura desvelar quais foram os agentes que geraram mudança de paradigma na escultura e de que modo o som foi integrado intencionalmente na produção do objecto artístico. Para a caracterização utilizou-se uma metodologia baseada na observação dos objectos, nas suas semelhanças e dissemelhanças, com base na leitura bibliográfica de áreas específicas e afins, no estudo de casos e na investigação prática. Conhecer as suas propriedades físicas, que materiais emprega na sua construção, que formas tem e como o seu sinal acústico é despoletado e se propaga num determinado meio, permitiu dar uma ordem a um vasto campo da escultura que andava à deriva e é tendencialmente ‘desviado’ para o domínio musical. A essência do movimento é efémera, tal como o som, consoante a maior ou menor velocidade a deslocação de um objecto tem o potencial de vibrar com uma intensidade capaz de gerar ondas sonoras audíveis. Nesta perspectiva, o estudo da escultura cinética do início do século XX, a par da evocação do ruído como arte, são elementos fundamentais na formação da escultura sonora e permitem delinear a barreira temporal da nossa investigação. Depois da longa travessia pelo mundo dos objectos sonoros, desde os engenhos mais primitivos até às peças elaboradas com as tecnologias mais contemporâneas, o caminho revela que o som sempre foi uma presença constante. A sua integração como elemento plástico permitiu aos artistas a consciência de uma dimensão temporal que transforma a escultura, porque lhe imprime uma identidade invisível e acrescenta à experiência uma memória auditiva; Abstract: The relationship of sculpture with sound The purpose of this research is the study of the sound sculpture, focusing primarily on the correlation of two areas, sculpture and sound. Seeks to analyze and define the sound sculpture through an interdisciplinary research between science, technology and the visual arts. This study aims to analyze the origin of the interplay between sculpture and sound, featuring what can be defined as sound sculpture inside the ambiguous universe of sound arts and what distinguishes it from a musical instrument. In this context, seeks to reveal what were the agents that generated a paradigm shift in sculpture and the sound was so intentionally integrated into the production of the artistic object. Used to characterize a methodology based on the observation of objects in their similarities and dissimilarities, based on the literature of specific reading and related areas, the case study research and practice. Meet their physical properties, which employs materials in its construction, which shapes and has as its acoustic signal is triggered and propagates in a given medium, allowed to give an order to a vast field of sculpture who was adrift and tends to be 'diverted 'to the musical domain. The essence of the movement is ephemeral, as the sound, depending on the higher or lower speed displacement of an object has the potential to vibrate with a strength capable of generating audible sound waves. In this perspective, the study of kinetic sculpture from the early twentieth century, alongside the evocation of noise as art, are key elements in the formation of sound sculpture and to delineate the temporal barrier of our investigation. After the long journey through the world of sound objects, from the most primitive devices to the more elaborated pieces with contemporary technologies, the path reveals that the sound has always been a constant presence. Its integration as a plastic element allowed the artists to realize a temporal dimension that transforms the sculpture, because it prints an invisible identity and adds to the experience an auditory memory.
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Mercier, Géraldine. "Equipo 57. Un art expérimental collectif au service d’une transformation de la société, entre l’Espagne franquiste et l’Europe (1957-1966)." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040200.

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Dans une Espagne étouffée par la dictature de Francisco Franco qui tente de réintégrer la scène artistique internationale en promouvant à l’étranger certains artistes abstraits informels, la position de collectif d’artistes abstraits géométriques Equipo 57 est singulière. Désireux de découvrir un monde libre et assoiffés de savoir, les jeunes artistes Juan Serrano, José Duarte, Agustín Ibarrola et Ángel Duart se rencontrent à Paris en 1957. Partageant les mêmes affinités pour l’art construit, les avant-gardes russes et la même volonté de rénovation de la vie culturelle espagnole, ils décident de former une équipe de travail et de discussion. De retour à Cordoue, rejoints par Juan Cuenca, les cinq membres du collectif élaborent la théorie de l’Interactivité de l’espace plastique qui sous-tend leurs créations, où l’individualité de chacun est gommée au profit de l’oeuvre collective. À la recherche d’un art qui puisse se réintégrer dans la vie quotidienne tout en questionnant la responsabilité de l’artiste, Equipo 57 emploie un langage rationnel et objectif qui s’exprime aussi bien dans le champ de la peinture, de la sculpture que du design. Il tente ainsi de conjuguer recherches formelles et engagement social. Cette première étude monographique en français propose d’analyser le parcours d’Equipo 57, depuis sa formation à Paris en 1957 jusqu’à dissolution officielle en 1966, en le confrontant au contexte socioculturel de l’Espagne franquiste et de l’Europe occidentale au tournant des années cinquante et soixante
In the 1950s, as Francisco Franco’s dictatorship tries to reintegrate its stifled country’s art scene onto the world stage by promoting certain Spanish abstract expressionists abroad, the position of Equipo 57, a collective of geometrical abstractionists, is unique. Eager to discover the free world, and thirsty for knowledge, the young artists Juan Serrano, José Duarte, Agustín Ibarrola and Ángel Duart meet in Paris in 1957. Sharing the same affinity for constructivist art and the Russian avant-garde, and united in their desire to renew Spanish cultural life, they decide to form a team of work and discussion. Upon their return to Cordoba, where they are joined by Juan Cuenca, the five members of the team elaborate a theory of the Interactivity of plastic space which guides their creation. The individuality of each member is thus erased for the good of the collective work. Aiming for an art that is able to enter into everyday life while questioning the responsibility of the artist, Equipo 57 uses a rational and objective language which takes form in painting, sculpture and design. They try to combine formal experiments as well as socio-political engagement. This premier monographic study in French aims to analyze the career of Equipo 57, from its inception in Paris in 1957 to its official dissolution in 1966. The group’s existence will be confronted with its sociocultural context in Franco’s Spain and Western Europe at the turn of the decade of the 1950s and 1960s
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Spencer, Timothy David. "Design of Len Lye's blade at the largest economic size." Thesis, University of Canterbury. Mechanical Engineering, 2014. http://hdl.handle.net/10092/9368.

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Len Lye was born in Christchurch, New Zealand, in 1901. Lye was an avid enthusiast of kinetic sculpture and experimental film. In 1965 Lye built a prototype for a kinetic sculpture called Blade that he intended would be a much larger work. In 1996, Dr. Shayne Gooch of the University of Canterbury embarked on a research contract that saw the fruition of Lye’s Blade at a scale previously unachieved. This work was given the name Big Blade. This thesis provides a study into the maximum realisable scale of Blade using technology and materials available today. A new pivoting clamp design is tested and assessed using a small scale Blade sculpture built at the University of Canterbury and used as a test rig. Advancements in technology, material availability and manufacturing techniques lead to a comprehensive fatigue study of the new clamp design. Stresses are measured at the critical stress location in the blade material and a new maximum economic scale of Blade is suggested. The new sculpture requires a blade material that measures 10024mm x 1080mm x 22mm. The visible blade length is 8424mm. The new sculpture is called Giant Blade. A critical aesthetic component for Len Lye’s performance of Blade is the mode shapes formed by the blade material. Specifically, the second and third bending modes (Lye’s single and double harmonic) and the first torsional bending mode (Lye’s shimmering frequency). These frequencies are calculated using the new pivoting clamp design to ensure that these sections of the performance are maintained in Giant Blade. An important requirement of the new sculpture drive mechanism is the capability to reduce the amplitude of shuttle oscillation dynamically during Blade performances. This capability allows bending stresses in the blade material to be reduced in the third bending mode of vibration without halting the performance to adjust the shuttle oscillation amplitude. Four dynamically adjustable variable stroke mechanisms are presented and compared using the methods of Pahl and Beitz. A suitable mechanism for Giant Blade is selected and a proposed arrangement for the new sculpture is provided. An embodiment design is presented for Giant Blade. This embodiment design consists of a new pivoting clamp design and the proposed variable stroke mechanism. Further work includes the design of a mechanism to support the ball and wand assembly.
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Books on the topic "Kinetic sculpture"

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Arnold, Beate Christiane. Schmuck, Kinetik, Objekte =: Jewellery, kinetics, objects. Edited by Joppien Rüdiger, Chadour-Sampson Anna Beatriz 1953-, and Becker Hildegard. 2nd ed. Stuttgart: Arnoldsche Art Publishers, 2001.

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H, Gedeon Lucinda, Fletcher Valerie J, Rickey Philip, Vero Beach Museum of Art., Frederik Meijer Gardens and Sculpture Park., Pyramid Hill Sculpture Park & Museum., and Marion Koogler McNay Art Museum., eds. George Rickey, kinetic sculpture: A retrospective. Vero Beach, Fla: Vero Beach Museum of Art, 2007.

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Hultén, Karl Gunnar Pontus. Tinguely: Centre Georges Pompidou, Musée national d'art moderne, 8 décembre 1988-27 mars 1989. Paris: Centre Georges Pompidou, 1988.

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Hultén, Karl Gunnar Pontus. A magic stronger than death. Milan: Bompiani, 1987.

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Hultén, Karl Gunnar Pontus. A magic stronger than death. London: Thames and Hudson, 1987.

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Rickey, George. George Rickey: Important sculpture. Toronto, Ont: Marianne Friedland Gallery, 1989.

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1919-, Selz Peter Howard, Chattopadhyay Collette, Ghirardo Diane Yvonne, and Benton Fletcher 1931-, eds. Fletcher Benton: The kinetic years. New York and Manchester: Hudson Hills Press, 2008.

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Česko) Galerie výtvarného umění (Náchod. Jiří Novák - v pohybu. V Řevnicích: Arbor vitae, 2010.

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Buderer, Hans-Jürgen. Kinetische Kunst: Konzeptionen von Bewegung und Raum. Worms: Wernersche Verlagsgesellschaft, 1992.

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Kersels, Martin. Commotion, Martin Kersels: Madison Art Center, Wisconsin, December 7, 1997-February 15, 1998 : Yerba Buena Center for the Arts, San Francisco, June 13-August 23, 1998. Madison, Wis: Madison Art Center, 1997.

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Book chapters on the topic "Kinetic sculpture"

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Woodward, Laura. "The somatic in kinetic sculpture." In Moving Imagination, 167–84. Amsterdam: John Benjamins Publishing Company, 2013. http://dx.doi.org/10.1075/aicr.89.11woo.

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Dostrašil, P. "Implementation of Specific Displacement Diagrams for the Control of Kinetic Sculptures with Yaskawa Electronic Cams." In Advances in Mechanism Design II, 377–82. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-44087-3_51.

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RICKEY, GEORGE. "KINETIC SCULPTURE." In Art and Artist, 149–78. University of California Press, 2023. http://dx.doi.org/10.2307/jj.8306224.15.

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"Kinetic sculpture." In Y Origami?, 62–65. Providence, Rhode Island: American Mathematical Society, 2017. http://dx.doi.org/10.1090/mbk/104/22.

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"Kinetic Instruments, Sound Sculpture, and Industrial Music." In Information Arts. The MIT Press, 2001. http://dx.doi.org/10.7551/mitpress/3765.003.0028.

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Jacobs, Steven. "Introduction: The Marble Camera." In Screening Statues, 1–26. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474410892.003.0001.

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According to Rudolf Arnheim, “much sculpture lacks the essential quality of life, namely, motion.” This is why, no doubt, marble statues and plaster casts played such an important role in the works of early photographers of the late 1830s and 1840s, who had to cope with long exposure times. Given this perspective, what can be said about the relation between sculpture and film, a medium often first and foremost characterized by motion? This book deals with a wide range of magical, mystical, cultural, historical, formal, and phenomenological interactions between the two media. Apart from the contrast between stillness and movement, sculpture and film can be seen as opposites in other ways. Whereas sculpture is an artistic practice that involves not only static but also material, three-dimensional, and durable objects, the cinema produces kinetic, immaterial, two-dimensional, and volatile images.
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Mack, Abigail, Friederike Steckling, and Sara Levin. "Considering the Continuum of Care for Outdoor Kinetic Sculpture." In Keep It Moving?, 138–39. J. Paul Getty Trust, The, 2018. http://dx.doi.org/10.2307/jj.6142264.24.

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Rico Mora, María Zahira Elizabeth. "El giro estético y los horizontes culturales icónicos: la experiencia estética en la escultura cinética." In Lo estético en el arte, el diseño y la vida cotidiana, 100–113. Universidad Autónoma Metropolitana. Unidad Azcapotzalco., 2021. http://dx.doi.org/10.24275/uama.7049.8990.

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The cultural debate about the sense of image in front of aesthetic experience of the observer, implies interpretation and production strategies. The aesthetic sign in reception theory produce reality, no more similarity relationship. This production of reality is because of the juxtaposition between an artificial environment and everyday space have the aesthetic twist in aesthetic experience, the kinetic sculpture IN/JECT is a representative example of it.
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Hessels, Scott. "Sustainable Cinema." In Visual Approaches to Cognitive Education With Technology Integration, 82–100. IGI Global, 2018. http://dx.doi.org/10.4018/978-1-5225-5332-8.ch006.

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Beyond mere inspiration, a subset of artists have given the natural world a more influential role in the outcome of their work. By harnessing the physics, biology, and ecology of the natural environment as artistic tools, they have used natural phenomena as a co-creator in their art-making practices. This use of natural force impacting the actual form of an artwork can also extend into moving image arts. Sustainable Cinema is a series of kinetic public sculptures that merge natural power sources with early optical illusions to create a moving image. The variations within this series now cover seven distinct image generating systems, multiple animation narratives, and several alternative energy sources. This chapter reviews each sculpture in form, content and site and discusses how collectively they create a case study for a larger perspective on culture's relationship with the forces of nature and the materiality of the moving image.
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Brown, Richard H. "Losing the Ground." In Through The Looking Glass, 91–138. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190628079.003.0004.

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This chapter centers on the relationships between acoustic projection and cinematic space. I start with Cage’s rhetoric on the medium of magnetic tape as the second transformation of sound materiality. Building on Julia Robinson’s notion of “symbolic investiture,” I survey the divided interpretations of Cage’s platform between musicologists that decode his music according to style analysis that established a compositional logic for his move to indeterminacy and the larger debate among art historians on the split between Neo-Avant-Garde and Abstract Expressionist aesthetics. I argue that Cage’s interaction with film and filmmakers provides a meeting ground for these debates within cinematic space in two films: Cage’s score for the Herbert Matter documentary on sculptor Alexander Calder and colleague Morton Feldman’s score for the Hans Namuth and Paul Falkenberg documentary on Abstract Expressionist painter Jackson Pollock. Both artists saw these commissions as opportunities to formalize connections between their compositional approaches to sound and the visual approach to space, kinetic movement, and ground revealed in the time-based poetics of the moving image. Last, I examine a film collaboration I discovered with the sculptor Richard Lippold that documented his monumental wire sculpture, “The Sun,” in which Cage and Lippold applied chance procedures to the editing process. Lippold’s commission came about as a result of his split with the so-called Irascible 18 collective of New York artists, and the history of its commission and reception reflects both an ideological divide on the materiality of sculpture and larger postwar McCarthy-era politics of passivity and resistance.
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Conference papers on the topic "Kinetic sculpture"

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Huang, Joey, Lora Cawelti, and Kylie Peppler. "Exploring Algorithm Building Through Designing and Making Kinetic Sculpture." In 17th International Conference of the Learning Sciences (ICLS) 2023. International Society of the Learning Sciences, 2023. http://dx.doi.org/10.22318/icls2023.180060.

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Antos, Busek, and Dostrasil. "The movable mechatronic kinetic sculpture with glass pendants on electronic cams." In 2018 19th International Carpathian Control Conference (ICCC). IEEE, 2018. http://dx.doi.org/10.1109/carpathiancc.2018.8399634.

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Fehlinger, Donald, J. Ward, and A. Fontecchio. "Increasing student interest in STEM via the Kensington Kinetic Sculpture Derby." In 2013 IEEE Frontiers in Education Conference (FIE). IEEE, 2013. http://dx.doi.org/10.1109/fie.2013.6685001.

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Bhattacharya, Ramarko, You Li, Emilie Faracci, Harrison Dong, Yi Zheng, and Ken Nakagaki. "Threading Space: Kinetic Sculpture Exploring Spatial Interaction Using Threads In Motion." In C&C '24: Creativity and Cognition. New York, NY, USA: ACM, 2024. http://dx.doi.org/10.1145/3635636.3660498.

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Lessieur, Andrew, Eric N. Sihite, Pravin Dangol, Akshath Singhal, and Alireza Ramezani. "Mechanical design and fabrication of a kinetic sculpture with application to bioinspired drone design." In Unmanned Systems Technology XXIII, edited by Paul L. Muench, Hoa G. Nguyen, and Brian K. Skibba. SPIE, 2021. http://dx.doi.org/10.1117/12.2587898.

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Ojeda-Ramirez, Santiago, Lora Cawelti, Joey Huang, and Kylie Peppler. "Tools Dictate the Divide: Entrenched Gendered Practices in the Making of Kinetic Sculptures." In 17th International Conference of the Learning Sciences (ICLS) 2023. International Society of the Learning Sciences, 2023. http://dx.doi.org/10.22318/icls2023.403257.

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Alexandrov, Angel, and Vladislav Ivanov. "Design and Modelling of Spherical Shaped Gear Arrangements in Kinematic Sculptures." In CIEES 2023. Basel Switzerland: MDPI, 2024. http://dx.doi.org/10.3390/engproc2024060006.

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Drymonitis, Alexandros, and Dimitrios Charitos. "ATHsENSe: A Multisensory Outdoor Installation." In ICAD 2021: The 26th International Conference on Auditory Display. icad.org: International Community for Auditory Display, 2021. http://dx.doi.org/10.21785/icad2021.035.

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The ATHsENSe installation is a four part AV installation based on environmental data from the city of Athens. It comprises four different installations: a visualization projection of the data, a sound installation where the data are being sonified, an installation comprising eight LED displays projecting texts from users of the web app of ATHsENSe, and a light installation reflecting the sound levels of a central point of Athens. The second of the four installations is presented here where data concerning CO, CO2, humidity and others, together with texts provided by the web app users, are being sonified in a six-channel surround installation. In addition to the electronic sounds of the sonification, four kinetic sculptures are being triggered by the system which create acoustic sounds by hitting found objects. This installation is located at the Serafeio complex in Athens, and was commissioned to the Spatial Research Media Group by the municipality of Athens after their successful participation in the Interventions in the City competition.
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