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Journal articles on the topic 'Kinetic sculpture'

To see the other types of publications on this topic, follow the link: Kinetic sculpture.

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Rain, Willow. "Asana as Sculpture, Kinetic Toy and Worshipful Ritual." International Journal of Yoga Therapy 2, no. 1 (January 1, 1991): 43–44. http://dx.doi.org/10.17761/ijyt.2.1.y3n11kq700764m31.

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A sculpture is the indwelling potential of the stone or wood to be carved. An artist uncovers the shape, sensitive to the qualities and character of the material. Likewise, asanas are expressions of the inherent potential of the human bodymind. Each time an asana holds a body, the posture creates a new and unique sculpture. Body parts may assume positions similar to those held previously, but variation is infinite in the subtle points of expression. Breathing may be manipulated or left free flowing.

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12

Jones, Alexander, and Eric Carlson. "TwitterViz: A Robotics System for Remote Data Visualization." Proceedings of the International AAAI Conference on Web and Social Media 7, no. 1 (August 3, 2021): 742–43. http://dx.doi.org/10.1609/icwsm.v7i1.14370.

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We demonstrate a portable and functional Internet-connected robotics system called TwitterViz, which visualizes real-time Twitter data on a kinetic sculpture. The purpose of our project is to explore how robotics can 'understand' and visualize remote data streams. We have constructed an overall system architecture with custom hardware and software that drives a robotic sculpture in real-time. Our system monitors Twitter data from the public API feed, analyzes the Tweets, and then converts the Tweets to motion on a kinetic robot. Our live demonstration of the TwitterViz robotics system fits onto a desktop, and includes the functioning kinetic robot, mini-ITX server, display for raw Tweets, and 4G connectivity to communicate with the Twitter API.

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13

Zhang, Xinwei, Jin Wang, Yu Liu, Guodong Lu, and Xusheng Zhang. "Kinetic Sculpture Design Using the Dynamic Cage." Journal of Physics: Conference Series 1519 (April 2020): 012013. http://dx.doi.org/10.1088/1742-6596/1519/1/012013.

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14

Gooch, S. D., and J. K. Raine. "The dynamics and limits on the scaling of a flexible kinetic sculpture." Proceedings of the Institution of Mechanical Engineers, Part C: Journal of Mechanical Engineering Science 214, no. 4 (April 1, 2000): 537–48. http://dx.doi.org/10.1243/0954406001523894.

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Highly flexible structures may be scaled up by different criteria that lead to different degrees of structural integrity as the scale increases. This paper first explores the effects of different scaling rules, focusing in particular on a double-size version of the Len Lye kinetic sculpture Blade, whose aesthetic performance characteristics must be preserved as the size is increased. Stresses in the sculpture increase, reaching first an economic limit beyond which frequent fatigue failure makes the sculpture too costly to operate. As the scale further increases, a size is reached where the sculpture will collapse. A dimensional parameter for comparing the values of the life to failure for different construction materials is also developed. The second part of the paper summarizes the results of different analytical approaches to the dynamics of Blade, both with and without the inclusion of an axial acceleration load due to gravity. The results of analyses are found to be in good agreement with experimental data. The paper closes by discussing some of the design implications of implementing the drive system for a double-size version of Blade that has been built and is now on public display.

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15

Treu, Barry. "My Electronic and Computer-Controlled Sculpture: Robotic Techniques Applied to Kinetic and Interactive Sculpture." Leonardo 25, no. 1 (1992): 51. http://dx.doi.org/10.2307/1575621.

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16

Stonyer, Andrew, Ken Ford, Malcolm Hughes, and Roger Linford. "Solar-Powered Kinetic Sculpture: A Collaborative Educational Experiment." Leonardo 19, no. 1 (1986): 35. http://dx.doi.org/10.2307/1578299.

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17

Giesbrecht, Daniel, Christine Q. Wu, and Nariman Sepehri. "DESIGN AND OPTIMIZATION OF AN EIGHT-BAR LEGGED WALKING MECHANISM IMITATING A KINETIC SCULPTURE, “WIND BEAST”." Transactions of the Canadian Society for Mechanical Engineering 36, no. 4 (December 2012): 343–55. http://dx.doi.org/10.1139/tcsme-2012-0024.

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Legged off-road vehicles exhibit better mobility while moving on rough terrain. Development of legged mechanisms represents a challenging problem and has attracted significant attention from both artists and engineers. In this paper, we present the design of a single-degree-of-freedom legged walking mechanism using the mechanism design theory and optimization to imitate a well-known kinetic sculpture, a Wind Beast. The optimization is set up to: i) minimize the energy input and ii) maximize the stride length. The optimization is based on the dynamic force analysis. A prototype of the optimized walking mechanism with 6 legs was built to demonstrate its smooth motion. The success in designing a legged mechanism capable of imitating the well-known kinetic sculpture using the engineering design theories is a small step bridging the gap between art and engineering.

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18

Stebackov, Michael S. "“LIGHT PROP FOR AN ELECTRIC STAGE” AS A SEARCH FOR THE NEW FORM OF CINEMA." Articult, no. 2 (June 2024): 50–60. http://dx.doi.org/10.28995/2227-6165-2024-2-50-60.

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The kinetic sculpture “Light Prop for an Electric Stage” was conceived by László Moholy-Nagy in 1922. It was completed in the workshops of the theater department of A.E.G. (Allgemeine Elektrizitäts-Geselschaft) in Berlin by the engineer Otto Ball according to the blueprint, accomplished by Stefan Sebök with László Moholy-Nagy in the Walter Gropius Office. This period is marked by the experimental search for the fundamentally new form of cinematographic expression, incipient at a junction of light and movement, which in its turn formed a reproducible light play in space. The new concept of cinematographic form required neither film nor traditional projection equipment. The reproducibility of the cinematographic image was achieved via the use of motorized kinetic construction, which could direct light, passing through refracting and diffusing materials, and create a complex play of moving lights and shadows in its surroundings. This paper traces the Moholy-Nagy’s journey from the conception of the sculpture to its implementation.

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19

Hoenich, P. K. "Comments on "Solar-Powered Kinetic Sculpture: A Collaborative Educational Experiment"." Leonardo 19, no. 3 (1986): 272. http://dx.doi.org/10.2307/1578265.

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20

RAINE, J. K., J. J. HARRINGTON, E. A. WEBB, and Z. A. MEREDITH. "Expanding Universe: Design Study for Scaling Up a Kinetic Sculpture." Journal of Engineering Design 7, no. 4 (December 1996): 397–410. http://dx.doi.org/10.1080/09544829608907948.

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21

Hessels, Scott. "Lenticular Waterwheels: Simultaneous Kinetic and Embedded Animation." Leonardo 50, no. 4 (August 2017): 394–99. http://dx.doi.org/10.1162/leon_a_01457.

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After decades as a novelty, lenticular technology has resurfaced in compelling large-scale projects. Without any required energy, the medium offers stereography without glasses and frame animation without electronics. A kinetic artwork installed in a remote river in the French mountains broke from the technology’s previous restrictions of static and flat display, recalculated the print mathematics for a curved surface, and explored narrative structures for a moving image on a moving display. This paper documents how the sculpture used custom steel fabrication, site-specific energy, and revised lens calculation to present a previously unexplored hybrid of animation.

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22

Cheglakov, Aleksandr Dmitrievich. "The assemblage technique in the creation of modern wooden sculptures." SENTENTIA. European Journal of Humanities and Social Sciences, no. 3 (March 2022): 40–46. http://dx.doi.org/10.25136/1339-3057.2022.3.36017.

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The article demonstrates how the assemblage technique manifests itself in modern wooden sculptures. The author shows what assemblage is and what is the essence of this method. In addition, close attention is paid to another innovation of avant-garde culture – organic art, according to the philosophy of which the world is represented as an organic whole, a single system with its own laws. By the example of M. Matyushin’s pedagogical system, the natural connection between man and nature in works of art is shown. On the basis of the developed creative method, it is presented how modern art can combine such avant-garde tendencies as, for example, organic art and assemblage. Another important methodology, close to the technique of assemblage, and at the same time bordering on the practices of kinetic art, is the creation of sculptures, the elements of which can be rotated. The synthesis of methods and materials allows us to expand the boundaries of art by introducing non-artistic materials into the creative circulation. The main idea of this approach is to enlarge the context in which the work of art we have created exists, to enrich its history. It is stated that the wooden sculpture provides the creator with ample opportunities for experimentation. The ideas and plots of wooden sculptures embody various ranges of artistic diversity of decorative and applied arts.

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23

Janura, Mark. "Bionic-Inspired Kinetic Structures for Application in Design, Architecture and Art." South East European Journal of Architecture and Design 2022 (January 17, 2022): 1–78. http://dx.doi.org/10.3889/seejad.2022.10056.

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The main goal of this master's thesis is to contribute to the design and study of a form suitable for the development of products driven by natural influences. A specific goal is to explore modern trends in the field of industrial design and modern technological advances as a theoretical basis, necessary to create an innovative concept solution of a modular bionic form and structure that can be driven by natural influences. The master's thesis as a theoretical basis applies three disciplines: bionics, kinetic sculpture and modular design. Bionics offers numerous opportunities for inspiration, both aesthetically and functionally. This paper uses one of the most common natural phenomena known as the Fibonacci sequence, the golden ratio, which is the main motive for creating the end result of the entire research. Kinetic sculpture as a new branch in the art of modern times has contributed to the introduction of a new fourth dimension, the dimension of movement. The modular approach is a modern way of building a form, and then a way of producing it. The aggregate results of these interdisciplinary studies have been applied and verified through a reactive fin design. Several variants of nature-inspired shapes and modular kinetic structures are offered that could be applied in different types of products with the possibility of moving under the influence of natural phenomena such as wind, rain, sea waves, etc. These shapes and structures could be used in the design of industrial products and architectural objects, but also in the design of equipment, furniture, toys for children, and of course in more complex engineering solutions.

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24

Smith, G. "Swing Low, Sweet Chariot: Kinetic Sculpture and the Crisis of Western Technocentrism." Arts 4, no. 3 (July 7, 2015): 75–92. http://dx.doi.org/10.3390/arts4030075.

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25

Brandon, Kären E., and Rebecca M. Goldberg. "A Kinetic Sculpture Intervention for Individuals Grieving the Deaths of Family Members." Journal of Creativity in Mental Health 12, no. 1 (June 30, 2016): 99–114. http://dx.doi.org/10.1080/15401383.2016.1184114.

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26

Horrocks, Roger. "The dance of the hand: Len Lye’s direct films." Animation Practice, Process & Production 8, no. 1 (December 1, 2019): 33–45. http://dx.doi.org/10.1386/ap3_00003_1.

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Len Lye’s animation has a special relationship with physical materials and the body because of the ways he drew and scratched his images directly onto film. This article considers what is unusual about his aesthetic, with its emphasis on kinaesthetic styles of viewing and on ‘physical empathy’. Tracking Lye’s film work from the 1930s through the 1950s, it draws connections with the body-oriented aspects of abstract expressionist art. It also relates the films to Maurice Merleau-Ponty’s ‘embodied’ approach to phenomenology. Today Lye’s films need to be digitized, and that transfer raises interesting questions about the differences between analogue and digital aesthetics. What happens when his films move from the ‘black box’ of the cinema to the ‘white cube’ of the gallery or museum where they are digitally presented? The article also considers Lye’s kinetic sculpture as another body-oriented form of animation, in which the motor replaces the projector. His sculpture again raises questions about mixing the analogue with the digital.

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27

Moon Jung, Lee. "The Ambivalence and Religiosity of Human Beings Represented in Uram Choe’s Kinetic Sculpture." Journal of Basic Design & Art 22, no. 5 (October 31, 2021): 307–20. http://dx.doi.org/10.47294/ksbda.22.5.23.

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28

Li, Bo, John Mooring, Sam Blanchard, Aditya Johri, Melinda Leko, and Kirk W. Cameron. "SeeMore: A kinetic parallel computer sculpture for educating broad audiences on parallel computation." Journal of Parallel and Distributed Computing 105 (July 2017): 183–99. http://dx.doi.org/10.1016/j.jpdc.2017.01.017.

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29

Miller, Barbara L. "Transdimensional Space: From Moholy-Nagy to Doctor Who." Leonardo 52, no. 2 (April 2019): 128–34. http://dx.doi.org/10.1162/leon_a_01403.

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More than ever, Moholy-Nagy’s influence circulates within contemporary art and visual media. In this essay, the author reconsiders his extended influence in regard to the complex scientific theories of space-time and molecular forces he invokes in Light-Space Modulator. To do so effectively and provocatively, the author brings on board a fictive resource: “Doctor Who.” Like the TARDIS, Moholy’s kinetic sculpture is conceptually a transdimensional apparatus that figuratively bores through time and space to connect past, present and future and resonates with today’s perception of space-time-light entanglement.

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Bois, Yve-Alain. "Letters from Paris." October 169 (August 2019): 38–64. http://dx.doi.org/10.1162/octo_a_00359.

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From 1957 to 1964, Annette Michelson wrote over seventy-five columns and reviews from Paris for the International Herald Tribune, Arts Magazine, and Art International. As Yve-Alain Bois demonstrates, Michelson's subject matter as an art critic during this time was varied, but her tone remained consistent and inimitable, characterized by erudition, irony, and attention to formal detail. Bois quotes from her self-confident appraisals of contemporary painting, traces her burgeoning interest in film, and highlights her particular interest in sculpture, from Daumier's modeled busts to Matisse's small bronze nudes to Tinguely's kinetic machines.

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31

Wilson, Ewan. "‘Diagrams of Motion’: Stop-Motion Animation as a Form of Kinetic Sculpture in the Short Films of Jan Švankmajer and the Brothers Quay." Animation 13, no. 2 (July 2018): 148–61. http://dx.doi.org/10.1177/1746847718782890.

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Jean-Luc Godard wrote that ‘The cinema is not an art which films life; the cinema is something between art and life’ (cited in Roud’s, 2010, biography of Godard), an observation particularly true of stop-motion animation. The filmmakers discussed in this essay, Jan Švankmajer and the Brothers Quay, share a fascination with the latent content of found objects; they believe that forgotten toys, discarded tools and other such objects contain echoes of past experiences. Extrapolating Švankmajer’s belief that memories are imparted to the objects we touch, the manipulation of his found objects as puppets in his films becomes a means of evoking and repurposing their latent content, just as the Quays develop their dreamlike films from the psychic content they perceive in their armatures. Making a case study of a selection of these animators’ short films, this article examines the practice of stop-motion animation against that of kinetic sculpture, unpicking the complexities of the relationship between the inherently static mediums of sculpture and photography – symbolic of a fixed moment in time – and that of stop-motion animation, a temporal pocket in which these fossilized moments are revived once more.

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32

Tsai, Joyce, Angela Chang, Matthew Battles, and Jeffrey Schnapp. "László Moholy-Nagy’s Light Prop as Design Fiction: Perspectives on Conservation and Replication." Leonardo 50, no. 3 (June 2017): 311–15. http://dx.doi.org/10.1162/leon_a_01429.

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Light Prop for an Electric Stage was presented in 1930 as a prototype for a new kind of mechanical theater that was meant to spark future partnerships between art and industry. Although it was never put into industrial production, Light Prop circulated as an early example of kinetic sculpture, as documented in a highly composed film, in photographs and in textual accounts. In 2016, the Harvard Art Museums and metaLAB (at) Harvard filmed Light Prop and its 2006 replica under highly controlled conditions. The resulting comparative media reveals how László Moholy-Nagy’s film served as the “design fiction” guiding the replication and conservation of Light Prop.

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Lavrentiev, Alexander N. "AVANT-GARDE DIALOGUES." Scientific and analytical journal Burganov House. The space of culture 17, no. 5 (December 10, 2021): 104–8. http://dx.doi.org/10.36340/2071-6818-2021-17-5-104-108.

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The article is dedicated to comparative analysis of spatial constructions created by the Russian Avant-Garde Artist Alexander Rodchenko and the famous kinetic European and American artist Alexander Calder in the first half of the 20-th century. For both artists technology played the decisive role in constructing spatial objects, both of them used line as a basic expressive element. Still there is a certain difference stressed by the author: Rodchenko used linear elements to express structural and constructive qualities of spatial objects, while Calder was more intending to represent emotion and movement. Rodchenko and Calder belong to the common abstract artistic trend in 20th century sculpture. But their works served as the basis for the two different traditions: minimalist conceptual and geometric art of Donuld Judd on one side and spontaneous mechanisms of Jean Tinguely on the other.

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Ardana, I. Gusti Nengah Sura, and I. Ketut Sudita. "THE DEVELOPMENT OF OGOH-OGOH MAKING WITH KINETIC ART’S TECHNOLOGY IN DENPASAR CITY." Jurnal Pendidikan Seni Rupa Undiksha 12, no. 3 (September 30, 2022): 249–57. http://dx.doi.org/10.23887/jjpsp.v12i3.52692.

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Ogoh-Ogoh is a three-dimensional kind of sculpture made at the time of pengrupukan in Bali, which is very closely related to the celebration of the Nyepi day of the Hindus in Bali as the new year, which comes once a year. In welcoming this celebration, there is something called tawur sange or the pecaruan ceremony, which means purifying the earth, carried out the day before the Nyepi celebration. The purpose of this celebration is to neutralize the forces of power of the negative that often interfere with human life, known as Bhuta Kala. It is what in Somia (neutralize) to be a good force (positive) and become the power of God. During this celebration, ogoh-ogoh are made that resemble the shape of Bhuta Kala or negative power whose shape is made very scary according to the imagination of the artists/young people who make it. The shape and appearance of the ogoh-ogoh today have progressed very rapidly. The development of making ogoh-ogoh today is very rapid and has experienced a very amazing increase, and it is because young people (yuwana) are developing creativity and innovation in making ogoh - ogoh. The innovation made is by incorporating elements of technology, namely Kinetic Art technology, into the manufacture of ogoh-ogoh, so that the ogoh-ogoh seem alive because they move. This research was conducted in Denpasar City with qualitative methods in data collection and has the purpose and benefit of knowing in depth about the development of ogoh-ogoh in the present. Keywords : Development, Ogoh - Ogoh, Kinetik Art

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35

Nowak, Magdalena Anna. "Self-Historicization Through Photography and Documentation. Stanisław Ostoja-Kotkowski’s Archive in the National Museum in Warsaw." Život umjetnosti, no. 111 (July 2023): 106–31. http://dx.doi.org/10.31664/zu.2022.111.09.

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The article is based on the research I carried out on the archive of Stanisław Ostoja-Kotkowski (1922–1994), the Cold War-era Polish-Australian artist living in South Australia, which is currently kept in the National Museum in Warsaw. Ostoja-Kotkowski was a pioneer in electronic art, kinetic sculpture, laser art, computer graphics and light art in the 1960s and 1970s. The article analyzes the archive in the context of “self-historicization” (Badovinac), used by this émigré artist to create his artistic identity in both Australia and Poland. The archive proves that self-documentation by the less-known creators from peripheral hubs is helpful to contemporary researchers in deconstructing dominating historical narratives. The use of photographs in the archive is seen through Amelia Jones’ notion of “performative document”, which helps to see images of ephemeral performances and actions as equal to the works of art themselves.

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36

Shaw, Michael. "The Computer-Aided Design and Manufacture of Specific Objects." Leonardo 43, no. 2 (April 2010): 113–20. http://dx.doi.org/10.1162/leon.2010.43.2.113.

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The author discusses his attempts to exploit computer-aided design and manufacture to extend Donald Judd's sculptural concept of Specific Objects. The paper focuses on the challenges of creating singular forms exhibiting both unity and variation through rapid prototyping. Consideration is also given to the broader consequences of sculpting through virtual CAD software, including outcomes such as kinetic inflatable sculptures and animated sculptures and drawings.

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Saitum, Waiyawat. "The Study of Solar Incident on Planar Surface for Kinetic Art." International Journal of Creative and Arts Studies 4, no. 2 (March 9, 2018): 19–35. http://dx.doi.org/10.24821/ijcas.v4i2.1974.

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In future, renewable energy will become mainstream global energy source because it flows all the time, also the solar energy. The sun always directly emits light through the earth, depending on how we utilize it. The study will fill the gap that the most of photovoltaic panel facing to the same direction against solar incident for maximum efficiently. It would be better if photovoltaic appliance to have aesthetic and capability in the same time. But changing planar surface angle for artistic purpose also need to consideration of efficiency for solar energy. The purpose of this study is to explore the most appropriate angle of solar incident that impacts directly to the planar surface, which will leads to gain maximum electric energy from photovoltaic cell. The variation angle of planar surfaces will be discovered could possibly produce energy to be applied for any purposes. The additional sources of other renewable energy gadgets may install to generate more electric power. These planar surfaces can be composited together into many new shapes and forms for researcher to create more impressive artwork. In this study, the chosen material was Monocrystalline solar cell (mono-Si) to generate energy, wood and glass for kinetic sculpture. The procedures of study were as follow: 1. Specific location by Latitude will be achieved I. Altitude II. Seasons III. Sunlight direction IV. Sunrise and Sunset time 2. Calculate Solar radiation from each Photovoltaic cell for energy gain. 3. Compares output energy and mechanic usage for Kinetic Art 4. Increases capability of solar incident by improving angle of planar surface or multiply. Results of this research will be the search of artistic identity in art forms, it will be guideline for designers to develop potential Kinetic arts and or further creative works.

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Moen, Kristian. "Expressive Motion in the Early Films of Mary Ellen Bute." Animation 14, no. 2 (July 2019): 102–16. http://dx.doi.org/10.1177/1746847719859194.

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Between 1935 and 1938, Mary Ellen Bute began her career as a filmmaker with a series of mostly animated films, including Rhythm in Light (1935), Synchromy No. 2 (1936), Parabola (1938) and Escape (1938). This article examines how these films offered an innovative, subtle and purposeful investigation of the potentials of animation to create artistic and expressive motion. Paying close attention to Bute’s own writing, the article explores how these films related to Bute’s expansive vision of cinema as a new form of kinetic art that was both composed and free-flowing. Drawing upon painting, music, sculpture and chronophotography, Bute’s work was highly intermedial, investing these arts and media with the dynamic potentials of filmic and animated motion. Tracing how Bute composed motion, displayed motion and used motion expressively, this article aims to develop our understanding of a pivotal 20th-century filmmaker, while at the same time investigating the distinctive ideas of the aesthetics, forms and effects of animated motion that were articulated in her filmmaking practice and theoretical writing.

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Zawidzka, Ela, Jacek Szklarski, Janusz Kobaka, and Machi Zawidzki. "Examples of Urban Furniture Based on Arm-Z System." Pomiary Automatyka Robotyka 28, no. 2 (June 14, 2024): 73–80. http://dx.doi.org/10.14313/par_252/73.

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Arm-Z is a conceptual hyperredundant robotic manipulator composed on linearly joined number of identical modules. Each of them has one-degree-of-freedom (1-DOF) – the relative twist. Since modules are congruent, Arm-Z presents potential economical advantages and enhanced robustness. The modules can be mass produced and easily replaceable. The control of Arm-Z, however, is difficult and not intuitive. Therefore it most often requires the use of computational intelligence techniques. This article presents selected concepts for kinetic street furniture based on Arm-Z: a helical column of adjustable height, a sun tracking shade or solar energy harvesting device, bio-mimicing sculpture, sprinkler or fountain. All these ideas are based on low-tech approach. For this purpose, the initial unit in the chain is fixed to the solid foundation. For simplicity, the drive is applied directly to the first unit and transferred by the means of internal gears to the following modules. All of them are equipped with a set of cylindrical and bevel gears with straight teeth with involute profile (for connecting the modules).

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Negro, Giovanna P. Del, and Harris M. Berger. "Character Divination and Kinetic Sculpture in the Central Italian Passeggiata (Ritual Promenade): Interpretive Frameworks and Expressive Practices from a Body-Centered Perspective." Journal of American Folklore 114, no. 451 (2001): 5. http://dx.doi.org/10.2307/3592375.

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Del Negro, Giovanna, and Harris M. Berger. "Character Divination and Kinetic Sculpture in the Central Italian Passeggiata (Ritual Promenade): Interpretive Frameworks and Expressive Practices from a Body-Centered Perspective." Journal of American Folklore 114, no. 451 (2001): 5–19. http://dx.doi.org/10.1353/jaf.2001.0054.

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Zhang, Yudi. "Reviewing Sharmanka Kinetic Theatre: An Innovative Curatorial Approach Combining Visual and Audio Elements." SHS Web of Conferences 174 (2023): 02012. http://dx.doi.org/10.1051/shsconf/202317402012.

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This article offers a retrospective on the operational model and aesthetic dimensions of steampunk sculptures at the Sharmanka Kinetic Theatre, located in Glasgow. The theatre employs an amalgamation of exhibitions and performances, meticulously choreographed by artist Eduard Bersudsky and his team, who coordinate each mechanical sculpture’s movements. Accompanied by ambient sounds and national music, as well as the dynamic interconnected performances of the sculptures themselves, the audience would be immersed in an artistic appreciation experience, allowing for deeper engagement with the relatively obscure art form of steampunk. This approach, addressing the issue of audiences perhaps being unable to fully appreciate art due to limited viewing time, transcends the traditional exhibition’s lack of a clear timeline or sequence. Furthermore, the article revisits how Eduard Bersudsky incorporates Russian cultural elements, history, and technology into his steampunk mechanical sculptures, which reflect the artist’s contemplation on war and authority, as well as his exploration of the relationship between technology and humanity.

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Burganova, Maria A. "LETTER FROM THE EDITOR." Scientific and analytical journal Burganov House. The space of culture 17, no. 5 (December 10, 2021): 8–9. http://dx.doi.org/10.36340/2071-6818-2021-17-5-8-9.

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Dear readers, We are pleased to present to you Issue 5, 2021, of the scientific and analytical journal Burganov House. The Space of Culture. Upon the recommendation of the Expert Council of the Higher Attestation Commission, the journal is included in the List of Leading Peer-reviewed Scientific Journals and Publications in which the main scientific results of theses for the academic degrees of doctor and candidate of science must be published. The journal publishes scientific articles by leading specialists in various humanitarian fields, doctoral students, and graduate students. Research areas concern topical problems in multiple areas of culture, art, philology, and linguistics. This versatility of the review reveals the main specificity of the journal, which represents the current state of the cultural space. The journal traditionally opens with the Academic Interview rubric. In this issue, we present an interview with Alexander Burganov, Academician of the Russian Academy of Arts, an outstanding Russian sculptor, National Artist of Russia, Doctor of Art History, Professor, Director of the Burganov House Moscow State Museum, interviewed by Irina Sedova, the Head of the 20th Century Sculpture Department of the State Tretyakov Gallery. This dialogue became part of the sculptor’s creative evening at the State Tretyakov Gallery, which included a personal exhibition, donation of the sculptural work Letter, screening of a special film and a dialogue with the audience in the format of an interactive interview. In the article “The Apocalypse Icon from the Kremlin’s Assumption Cathedral. Dating and Historical Context”, T. Samoilova points out the similarities between some motifs of the Apocalypse iconography and the motifs of Botticelli’s illustrations to the Divine Comedy, as well as the role of a line in both artworks which testifies to the influence of the Renaissance art on icon painting of the late 15th — early 16th centuries. Studying palaeography and stylistic features of the icon, the author clarifies the dates and believes that the icon was most likely painted after 1500, in the first decade of the 16th century. P. Tsvetkova researches the features of the development of the Palladian architectural system in Italy, in the homeland of Andrea Palladio. On the examples of specific monuments, drawings and projects created during two and a half centuries, the author analyses the peculiarities of the style transformation in the work of Palladio’s followers, the continuity of tradition, deviations from canonical rules. In the article “Artistic Features of the Northern White Night Motif in the Landscapes of Alexander Borisov and Louis Apol”, I. Yenina conducts art analysis and compares the works of the Russian “artist of eternal ice”, A. Borisov, and the Dutch “winter artist”, L. Apol. They were the first to depict such a phenomenon as a white night in the Far North. V. Slepukhin studies the artworks of the first decades of the Soviet era in the article “Formation of the Image of a New Hero in Russian Art of 1920- 1930”. The author concludes that the New Hero in the plastic arts of the 1920s–1930s was formed as a reflection of social ideals. The avant-garde artists searched for the Hero’s originality in the images of aviators, peasants, women. The artists of socialist realism began to form the images of the “typical” heroes of the time — warriors, athletes, rural workers, scientists, as new “people of the Renaissance”. In the article “Dialogues of the Avant-garde”, A. N. Lavrentyev presents a comparative analysis of spatial constructions created by the Russian Avant-Garde Artist Alexander Rodchenko and the famous kinetic European and American artist Alexander Calder in the first half of the 20th century. Wei Xiao continues his analysis of contemporary art in the article “Chinese Sculpture in the New Era”. The author notes that the art of sculpture is in many ways a reflection of social change, both in terms of cultural content and practice. The author emphasises the need for cultural identity to preserve national traditions and spirituality. Xu Yanping’s article “The Dynamics of the Choral Culture Development in China in the 1930s on the Example of Huang Tzi’s Oratorio Eternal Regret” is a scientific study of a particular phase of the active entry of Chinese choral music into the sphere of the oratorio genre, directly related to the name of the great Chinese composer, Huang Tzi. It also highlights the issues of the country’s political life in the 1930s, which actively influenced the creation of nationwide singing movements and new choral works in the country. The author believes that the oratorio Eternal Regret presented in the article is a unique creation that organically combines ethnic musical material and Western composition techniques. The publication is addressed to professionals specialising in the theory and practice of the fine arts and philology and all those interested in the arts and culture.

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Muñoz Morcillo, Jesús, Franziska Schaaf, Ralf H. Schneider, and Caroline Y. Robertson-von Trotha. "Authenticity through VR-based documentation of cultural heritage. A theoretical approach based on conservation and documentation practices." Virtual Archaeology Review 8, no. 16 (May 22, 2017): 35. http://dx.doi.org/10.4995/var.2017.5932.

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<p>The visualization of 3D reconstructed artifacts often requires significant computing resources. The implementation of an object in a virtual reality (VR) application even necessitates the reduction of the polygonal mesh. Consequently, the communication and dissemination of “authentic” 3D reconstructions via immersive VR technologies has been a nearly impossible feat for many researchers. However, is the issue really computing resources, or is it rather the notion of authenticity in an “auratic” sense, i.e., an excessive focus on physical evidence and survey data? In the present paper, we will discuss the authenticity requirements for virtual archaeology as set by the Seville Principles(2011), and we will analyse some limitations related to the current approaches. Furthermore, we will propose a pluralistic notion based on the contextualization of 3D objects in VR environments with synesthetic (i.e. multisensory) information. This new notion of authenticity relies on conservation meanings rather than physical features. In line with this approach, two case studies will be commented: the multimodal 3D-documentation of the Jupiter Column(2AD) in Ladenburg, and the VR-based re-enactment of a modern work of art, the audio-kinetic sculpture Kaleidophonic Dog(1967) by Stephan von Huene. These two projects provide valuable data for a revision of the notion of authenticity in both virtual archaeology and art conservation.</p>

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Rozmarynowski, Łukasz. "Abstrakcji przestrzeń wieloraka. Kategoria przestrzenności w twórczości Wojciecha Fangora, Jerzego Grabowskiego i Ryszarda Winiarskiego - studium porównawcze." Artium Quaestiones 31, no. 1 (December 20, 2020): 401–36. http://dx.doi.org/10.14746/aq.2020.31.13.

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If one were to indicate some tendencies characteristic of the art of the 20th century, the pursuit of making artwork more spatial would certainly be one of them. This tendency manifests itself in the myriad of symptoms: an avant-garde redefinition of sculpture with its negative space; a proliferation of kinetic works enabling spectators to (re)shape artwork’s matter more actively; a dissemination of ephemeral forms, especially happening and performance; beginnings of installation art, to mention but a few. The present paper sets out to examine an artistic phenomenon which is not as spectacular as the aforementioned examples, but it could be somehow placed at the intersection of them. One can consider the particular type of abstract painting, embedded in a pictorial plane and slightly opening for surrounding space, but simultaneously reconceptualising the relation between the imagined and the physically present. The first part of the article deals with methodology. As far as research is concerned, the author assumes moderate scientism as the methodological perspective. It is based on the belief that mathematical sciences throughout history have developed notions and analytical methods allowing the observable and communicable features of things, including artworks and artistic phenomena, to be explained in an effective way, i.e. more faithfully and usefully. Because of the fact that mathematical truths are not absolute, the methodological perspective is called ‘moderate’. Taking into account these assumptions, the second part of the article defines the analytical category of spatiality, which expresses painting’s ability to evoke variously conceptualised spaces. The three subsequent sections of the article are devoted to some paintings by three Polish artists active in the second half of the 20th century, i.e. Wojciech Fangor, Jerzy Grabowski, Ryszard Winiarski. Each of them combined two differently understood spatial orders in their works: physical (related to phenomenological and sensual experience) and conceptual (related to notions and theories proposed by exact sciences). Having analysed a number of paintings by Fangor, Grabowski and Winiarski, one can define notions of cosmogonic, transcendence and probabilistic space, respectively. In summary, the specificity of works analysed in the context of ideas drawn from exact sciences is examined.

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Rukmane-Poča, Ilze, and Linda Leitāne-Šmīdberga. "The Directions of Formal Expression in Latvian Contemporary Architecture in the Context of the Synthesis of the Arts." Architecture and Urban Planning 10, no. 1 (December 1, 2015): 39–48. http://dx.doi.org/10.1515/aup-2015-0006.

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Abstract Different types of formal expression can be found in the modern architecture of the 21st century - in publications, internet resources and in the generalizations of critics. In the context of the synthesis of arts the styles of sculptural architecture and surface architecture are noteworthy. Characteristics of this synthesis are also noticeable in kinetic architecture where the styles of surface kinetic architecture and sculptural kinetic architecture are distinguished. The genesis of images of buildings constructed in these styles is the result of the synthesis of arts; it reflects the development of historical styles as well as the ways of formal expression and their influences in the end of the 20th century and in the 21st century. This paper provides an analysis of constructed objects and proposals put forth in architectural competitions in Latvia’s 21st century modern architecture.

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Ragain, Melissa. "Kinetics of Liberation in Mark di Suvero’s Play Sculpture." American Art 31, no. 3 (November 2017): 26–51. http://dx.doi.org/10.1086/696114.

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Dostrašil, Pavel. "Effective design and implementation of specific displacement diagrams to control kinetic sculptures." MATEC Web of Conferences 210 (2018): 04004. http://dx.doi.org/10.1051/matecconf/201821004004.

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Electronic cams are used for different manufacturing systems, but in terms of displacement diagrams, they have common characteristics. The emphasis is usually placed on maximum accuracy, minimum machine cycle time and the displacement diagram has a simple shape. This paper addresses a completely different case, which shows that the use of electronic cams is very diverse. An Omron’s electronic cam was used to control kinetic art sculptures. It was necessary to develop an implementation that would be able to accommodate a large number of very long and complex displacement diagrams. Some sculptures contained up to 147 interpolating axes and their programs took up to an hour. The proposal builds on the basic animation and designer’s demands, but it must comply with all the limits of the mechanism (maximum speed, torque, etc.). For this purpose, an independent software tool was developed. The final displacement diagram is composed from polynomial of the 5th order by defining the 0th, 1st, and 2nd derivatives at the key points. This method of design has proved to be very effective, and in addition, this implementation brought a significant saving of memory and reduction of computational complexity.

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Schoenmakers, R. H. M. "Kinematic analysis of Sculptor Group galaxies." International Astronomical Union Colloquium 174 (2000): 54–59. http://dx.doi.org/10.1017/s0252921100054750.

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AbstractAn analysis of the kinematics of the five major spiral galaxies in the Sculptor Group is presented. These galaxies are analyzed using the method of harmonic expansion of the velocity field as described in Schoenmakers, Franx and de Zeeuw (1997). Three different types of kinematic distortions were found: warps, lopsidedness and elongation. All the Sculptor galaxies show kinematic lopsidedness, two show signs of global elongation and two are kinematically warped. The detected kinematic distortions are well in excess of those typically found for isolated galaxies.

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Poluga, S. Lindsay, Abdul Shakoor, and Eric L. Bilderback. "Rock Mass Characterization and Stability Evaluation of Mount Rushmore National Memorial, Keystone, South Dakota." Environmental and Engineering Geoscience 24, no. 4 (December 21, 2018): 385–412. http://dx.doi.org/10.2113/eeg-2042.

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Abstract The purpose of this study was to characterize the rock mass at Mount Rushmore National Memorial (MORU) and to evaluate the stability of the presidential sculptures. The sculptures are carved in granite, but quartz-mica schist and minor outcrops of pegmatite are also present within the site area. We divided the MORU area into four “regions” to collect discontinuity data. Since the sculptures were not accessible during this study, we used light detection and ranging (LiDAR) data and Split-FX software to determine the orientations of both the discontinuities and the slopes on the sculptures. The rock mass characterization results, using both the Rock Mass Rating system and the Q-system, indicate the granite, schist, and pegmatite classify as fair to good rock. Kinematic analysis results indicate that the potential for planar, wedge, and toppling failures exists for various slopes on each of the sculptures. The factor of safety (FS) values against planar and wedge sliding, ignoring cohesion, range from 0.1 to 0.8 and from 0.2 to 1.3, respectively. Since failures have not been observed at the memorial, we back-calculated the amount of cohesion required to raise the FS values to >1. The back-calculation results show that both cohesion and friction contribute to stability of the sculptures. Using the Slide program, we performed an overall slope probabilistic analysis for the slopes on which the MORU sculptures are located. The analysis determines the mean factor of safety (FSM), reliability index (RI), and probability of failure (PF) for the slopes. For the static condition, the analysis resulted in FSM, RI, and PF values ranging from 3.3 to 4.5 percent, 3.3 to 7.8 percent, and 0 percent, respectively. With a seismic load coefficient of 0.14 applied to the slopes, the corresponding values were: 2.6 to 4.1 percent, 2.9 to 4.7 percent, and 0 percent. For both the static and seismic conditions, the results indicate that, overall, the slopes of the sculptures are stable.

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