archives@tulane.edu / 1 / Joris P Lindhout

Thesis (Ph. D.)--University of Texas at Austin, 2003. / Supervisor: Linda D. Henderson. Vita. Includes bibliographical references. Available also from UMI Company.

Not available / text

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

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.

Latitudinaria* explores and critiques the ambivalence between current technological progress and the consequently depersonalised social structures and systems. I am using the development from mechanical Automata to mass production juxtaposed to Charlie Chaplin??s film and Jean Tinguelys kinetic art, as examples for the change of the social condition from the industrialisation to the current post-industrial era. The change of social condition I refer to as the ??depersonalisation?? or ??dehumanisation?? effect supported by my working experiences in the health system. The ??medicalisation of the life span?? and the discrepancy of creating a sustainable future less profit orientated are two indicators of how far we have been removed from our bodies. These observations are supported by the writing of Ivan Illich??s Medical Nemesis and Frank Schirrmachers?? analysis of the change of the social structure using the family configuration as an example. These conceptual ideas are visualised by a selection of kinetic art works and video installations. In the heart of this body of work is the process-orientated documentation of Zero AGL project. The project documents the journey of a discarded airplane that was re-assembled and reanimated by myself and a group of volunteers supported by local businesses. The struggle of the group of people stands as a metaphor for the current dilemma of the restricted usage of public space. Further it reflects on my own limitations dealing with the Australian outback culture and the transition of my own sculptural practice from small scale art works into the arena of life size public Art. Those experiences shaped the process and the direction of the project. The motivation for the creation of the body of kinetic sculptures and video installation is to highlight the absurdity of social constructed categories and controlling systems in a post-industrial society. The subject matter focuses on the social construction of the categories of the ??Norm?? and the limitations of failure. Latitudinaria gives the audience a lateral view on how human betterment is not always essentially connected to technological progress but on transforming ideas and enhancing it from a different point of view. * freedom from normal restraints, limitations and regulations.

Latitudinaria* explores and critiques the ambivalence between current technological progress and the consequently depersonalised social structures and systems. I am using the development from mechanical Automata to mass production juxtaposed to Charlie Chaplin??s film and Jean Tinguelys kinetic art, as examples for the change of the social condition from the industrialisation to the current post-industrial era. The change of social condition I refer to as the ??depersonalisation?? or ??dehumanisation?? effect supported by my working experiences in the health system. The ??medicalisation of the life span?? and the discrepancy of creating a sustainable future less profit orientated are two indicators of how far we have been removed from our bodies. These observations are supported by the writing of Ivan Illich??s Medical Nemesis and Frank Schirrmachers?? analysis of the change of the social structure using the family configuration as an example. These conceptual ideas are visualised by a selection of kinetic art works and video installations. In the heart of this body of work is the process-orientated documentation of Zero AGL project. The project documents the journey of a discarded airplane that was re-assembled and reanimated by myself and a group of volunteers supported by local businesses. The struggle of the group of people stands as a metaphor for the current dilemma of the restricted usage of public space. Further it reflects on my own limitations dealing with the Australian outback culture and the transition of my own sculptural practice from small scale art works into the arena of life size public Art. Those experiences shaped the process and the direction of the project. The motivation for the creation of the body of kinetic sculptures and video installation is to highlight the absurdity of social constructed categories and controlling systems in a post-industrial society. The subject matter focuses on the social construction of the categories of the ??Norm?? and the limitations of failure. Latitudinaria gives the audience a lateral view on how human betterment is not always essentially connected to technological progress but on transforming ideas and enhancing it from a different point of view. * freedom from normal restraints, limitations and regulations.

[ES] Esta tesis doctoral tiene por objetivo general expandir la escultura quiteña (de la ciudad de Quito), normalmente supeditada a convencionalismos sociales ampliamente difundidos y al conservadurismo académico local, ambos mayormente centrados en la noción de monumento. Para ello se ha desarrollado un proceso investigativo y creativo en bucle, definido en los objetivos específicos programados, a partir de los fundamentos teóricos, históricos, técnicos y tecnológicos de la escultura cinética, incluyendo la mención de sus principales practicantes, extranjeros y locales; así como de los conceptos de mediación, juego y público, y los recursos relacionados a estos, aplicados y aplicables a la escultura. De allí se ha establecido un método creativo para el diseño de las obras cinéticas propuestas. Método que se alimenta tanto del campo específico del arte como de otras disciplinas estudiadas; y que posibilita la creación de obras escultóricas cinéticas en acero estructural, sistematizando y documentando su proceso creativo. Finalmente, se ha evaluado la interactividad generada entre las esculturas realizadas y el público de las mismas. Con todo ello, cual objetivo superior, esta investigación-creación aspira a contribuir al campo del arte local proporcionando nuevas perspectivas y prácticas escultóricas mediante la inserción, cual intervención social en la esfera académica quiteña, de la escultura cinética corporal y semánticamente interactiva. / [CA] Aquesta tesi doctoral té per objectiu general expandir l'escultura quiteña, normalment supeditada a convencionalismes socials ámpliament difosos i al conservadorisme acadèmic local, tots dos majorment centrats en la noció de monument. Per a això s'ha desenvolupat un proce's d'investigació i creatiu en bucle, definit en els objectius específics programats, a partir dels fonaments teòrics, històrics, tècnics i tecnològics de l'escultura cinètica, incloent-hi l'esment dels seus principals practicants, estrangers i locals; així com dels conceptes de mediació, joc i públic, i els recursos relacionats a aquests, aplicats i aplicables a l'escultura. D'alli' s'ha establert un métode creatiu per al disseny de les obres cinètiques proposades. Mètode que s'alimenta tant del camp específic de l'art com d'altres disciplines estudiades; i que possibilita la creació d'obres escultòriques cine¿tiques en acer estructural, sistematitzant i documentant el seu procés creatiu. Finalment, s'ha avaluat la interactivitat generada entre les escultures realitzades i el públic d'aquestes. Amb tot això, com a propòsit superior, aquesta recerca-creació aspira a contribuir al camp de l'art local proporcionant noves perspectives i pràctiques escultòriques mitjancant la inserció, com intervenció social en l'esfera acadèmica quiteña, de l'escultura cinètica corporal i semànticament interactiva. / [EN] The general objective of this doctoral thesis is to expand the sculpture in Quito, normally conditioned by widely diffused social conventions and local academic conservatism, both mostly centered on the notion of monument. For this, a looping investigative and creative process has been developed, defined in the specific programmed objectives, based on the theoretical, historical, technical and technological foundations of kinetic sculpture, including the mention of its main practitioners, foreign and local; as well as the concepts of mediation, game and public, and the resources related to these, applied and applicable to sculpture. From there, a creative method has been established for the design of the proposed kinetic artworks. Method that feeds both on the specific field of art and on other studied disciplines; and that enables the creation of kinetic sculptural works in structural steel, systematizing and documenting their creative process. Finally, the interactivity generated between the sculptures and their public has been evaluated. With all this, as a higher objective, this research-creation aspires to contribute to the field of local art by providing new perspectives and sculptural practices through the insertion, as a social intervention in the Quito academic sphere, of kinetic and semantically interactive corporal sculpture. / García Moreno, MF. (2023). Escultura cinética en acero estructural. El movimiento como agente mediador entre obra de arte y espectador. Caso Quito-Ecuador [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/192893