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概要
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Thoughthere was a break in the post-war period, Kinetic Art has made a marked progress since it was linked to electronics and mechanical engineering. As forerunners in Kinetic Art, Marcel Duchamp, Alexander Calder, Laszlo Moholy Nagy, and Man Lye have been eager to make use of technology to represent a high achievement in formative art of light and movement. The trend of Kinetic Art after the World War II has been represented by Bruno Munari, Lucio Fontana, Nicolas Schoffer. Kinetic Art has dynamics as its common subject and it is roughly divided into three groups according to the kinds of their movements: 1.formative works like Mobile which are driven by such natural forces as torces as the wind and water 2.relief works, such as Agam's works, which vary themselves in accordance with the viewer's movements. 3.self-moving pieces operased by motors or other powers. This paper is chiefly concerned with thethird type…the self-moving one. With the remarkable development of technology, Kinetic Art has grown into Kinetic Art as an environmental formative art as Sibanetics has been introduced (as by Schoffer) into this field to make more complexed movements possible, light, colour and sound being coordinated. We here try to getat the dynamics of formative art visually instead of digging into its mechanism.
- 日本デザイン学会の論文
- 1973-03-30
日本デザイン学会 | 論文
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