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Arts 2016, 5(1), 1; doi:10.3390/arts5010001

Participative Mindscapes

6 Rue des Bourgades, 30610 Sauve, France
Received: 20 March 2015 / Accepted: 21 October 2015 / Published: 1 March 2016
(This article belongs to the Section Visual Arts)

Abstract

In parallel with my social activism, I introduced architecture into my kinetic art and participatory activism into my architecture. Flexibility and participation in architectural design has been a permanent feature of my practice, bringing new opportunities for self-expression in urban living. To form follows function I opposed form follows movement because it is man oriented while function is object oriented. After my 1962–1964 Mecanographs, machine-made images based on an interaction between the movement, the artist and the machine, I joined forces with Len Lye to determine what kind of positive attributes a Museum of Kinetic Art should have, defining three aspects of kinetic movement: illumination, sound, and physical movement. Vasarely and other kinetic artists put their mark on their time by promoting a form of social art, accessible to all, suggesting movement without actual movement. Walking through my medieval village can be a kinetic experience. The sense of wonder you feel at every corner compares with that of optical art. In the past decade, I moved toward a new form of participatory kinetic expression using state-of-the-art technology (plastics, LED, wireless devices). I view my kinetic work as an architectural experience and architecture as a stimulating kinetic experience. View Full-Text
Keywords: kinetic art; architecture; participation kinetic art; architecture; participation
This is an open access article distributed under the Creative Commons Attribution License which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited. (CC BY 4.0).

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Katan, R. Participative Mindscapes. Arts 2016, 5, 1.

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