Through the reading of the kinetic passage in concept of modern art this particular quotation stood out for me;
“kinetic art means art which involves movement is ‘kinetic’ in the precise sense in which the term is used when we speak kinetic art….. from the earliest times artists have been concerned with depicting movement. In other words, they have been concerned with the representation of the movement of objects. But not concerned with representing movement but that of the movement itself, with the movement of a particular part of work’ in the precise sense in which the term is used, a work of kinetic art must have other specific qualities besides of what is moving.”
This specific piece of written work by Cyril Bennet suggests that kinetic art is not that of how an object moves but that of what effects it causes while in motion and what discussion takes place while viewing and how this effects other etc immersion.
This section then lead me on to kinetic sculpture artists i found myself on the Tate website scrolling through the archives, with this i came across;
Fischli and Weiss: The way things go (excerpt)
Inside a warehouse, a precarious 70-100 feet long structure has been constructed using various items. When this is set in motion, a chain reaction ensues. Fire, water, law of gravity as well as chemistry determine the life-cycle of objects - of things. It brings about a story concerning cause and effect, mechanism and art, improbability and precision.
Above i have attached a link to 'The way things go' in action.
As they repeatedly tried to balance objects for those photographs, the artists became fascinated with states of impending collapse. In 1985 they began to stage scenes of causal activity in an empty warehouse using items like tires, balloons, ladders, and fireworks. Through sheer determination and hours of trial and error, they composed cinematic sequences in which objects careen into one another, light each other on fire, and fly from place to place in an endlessly unravelling chain reaction. In fact, the sense of continual movement is an illusion: the piece comprises nearly two dozen separate shots filmed without sound over a period of two years. Fischli and Weiss masked the transitions by fading between images of white foam or bright explosions and added audio effects in post production—part of their sustained effort to remove any evidence of human involvement in the actions. The objects appear to move of their own volition, freed from their usual functions and revelling in the pleasure of their misbehaviour.