timepieces': a series of static and kinetic sculptural constructions

Leonardo

'Timepieces': A Series of Static and Kinetic Sculptural ConstructionsAuthor(s): Bryan RogersSource: Leonardo, Vol. 14, No. 1 (Winter, 1981), pp. 5-12Published by: The MIT PressStable URL: http://www.jstor.org/stable/1574470 .

Accessed: 12/06/2014 18:57

Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at .http://www.jstor.org/page/info/about/policies/terms.jsp

.JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range ofcontent in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new formsof scholarship. For more information about JSTOR, please contact [email protected].

.

The MIT Press and Leonardo are collaborating with JSTOR to digitize, preserve and extend access toLeonardo.

http://www.jstor.org

This content downloaded from 62.122.79.56 on Thu, 12 Jun 2014 18:57:01 PMAll use subject to JSTOR Terms and Conditions

http://www.jstor.org/action/showPublisher?publisherCode=mitpress

http://www.jstor.org/stable/1574470?origin=JSTOR-pdf

http://www.jstor.org/page/info/about/policies/terms.jsp


Leonardo, Vol. 14, pp. 5-12. Pergamon Press, 1981. Printed in Great Britain.

'TIMEPIECES': A SERIES OF STATIC

AND KINETIC SCULPTURAL

CONSTRUCTIONS

Bryan Rogers* Abstract-The author describes portions of a series of conceptually based sculptural constructions related to various aspects of the subject of time. Descriptions cover examples of both static and kinetic objects within the series. Included is a discussion of the two types of modular construction systems used, one a modelling system, the other an industrial construction system. The technique for designing many of the objects in the series is based on the similar characteristics of the two systems. Thoughts pertaining to the use by visual artists of the materials, processes and equipment of contemporary science and technology are also presented.

I. INTRODUCTION

Recently I completed a series of 27 static and kinetic sculptural constructions, all related in some manner to the subject of time [1]. In this series of 'Timepieces', some works stem from ideas about time, others involve aspects of the word 'time'. These objects were constructed during the years 1976-1978. Works in related genre by other artists have been discussed in Leonardo [2-5].

II. TWO MODULAR CONSTRUCTION SYSTEMS

Following work on my 'Umbrella Series' [6], I was fortunate to receive a fellowship in 1974 to do my art work in the Federal Republic of Germany for one year. The year was frustrating. I was away from my usual sources of materials and fabrication facilities, so that working in my customary manner was impossible. In terms of developing ideas and new ways of working, however, the period was, in retrospect, a valuable one.

Certain events during that year had a strong influence on my work. The first was my visit to an exhibition in Hanover entitled 'Naivitat der Maschine' [7]. This exhibition contained, in addi- tion to a number of machines and machine-like objects made by artists, a fascinating display demonstrating the large spectrum of structural and electromechanical objects that can be constructed with the modular plastic toy and modelling system available under the trademark name fischertechnik (manufactured by Fischer-Werke, Tumlingen/Waldachtal, Federal Republic of Ger- many). The precision of manufacture of the mod-

*Artist and teacher, Art Department, San Francisco State University, 1600 Holloway Avenue, San Francisco, CA 94132, U.S.A. (Received 10 August 1979)

ular components and their versatility in application surpassed those of any modelling system I knew about. During the weeks following the exhibition, I coveted fischertechnik displays in countless store windows. Although at the time I was not certain how, I knew that the fischertechnik system could be used in my work. The design of the system appealed strongly to my technolo- gically oriented aesthetic.

However, purchasing a useful quantity of fischertechnik components would have been pro- hibitively expensive for me. So I contacted the manufacturer directly and, after an exchange of correspondence, arranged for the loan of a sub- stantial supply. This marked the beginning of a period of productive contacts with industry.

For my stay in Germany I was generously provided with a large studio in the marble-dust laden basement of the venerable Akademie der bilden- den Kiinste in Munich. In this unlikely setting, I cleared away the dust, unpacked large boxes of fischertechnik parts and set up what looked like a university mechanical engineering laboratory in miniature. Using the various fischertechnik manuals, I gradually learned to work with the system, constructing many objects. I was increasingly impressed with the exceptional quality of the system's design, the work of the inventor/ entrepreneur Artur Fischer. I realized that this product served me as a kind of sketch pad for developing working models that would facilitate conceptualizing and visualizing my constructions.

Working with the fischertechnik system was a major preoccupation during my time in Germany. At the end of the year I visited the impressive Fischer-Werke facilities and presented photo- graphs of my experiments with their product. I was given the set of components that I had worked with to take back to my studio in Califor- nia, and I was told that more components would

5



Bryan Rogers

be sent to me should I need them. In return, I agreed to report to Fischer-Werke periodically on my work with their product.

A first-priority task upon returning to the U.S.A. was to set up a special workbench in my studio for constructing fischertechnik models. Then it occurred to me that the fischertechnik system could be employed to make models for objects eventually to be constructed with a modular metal industrial framing system called Uni- strut (manufactured by Unistrut Corp., Wayne, Michigan, U.S.A.). Several years earlier, I had salvaged a quantity of Unistrut steel framing installed in a large research laboratory that was being dismantled. I realized that the Unistrut system was structurally a nearly exact scale-up of the fischertechnik system. Using either system, one can assemble a large number of individual components to produce an enormous variety of forms differing only in scale. The fischertechnik system relies on one extremely versatile plastic module, while the Unistrut system consists of a selection of channel combinations, available in various metals, that may be cut to desired lengths and assembled with the system's bolts, spring- loaded nuts and a large selection of fittings. Figure 1 shows the essential construction features

ed with the notion of time, wordplay and associa- tions with words (as in my previous work) formed the basis for a number of constructions. In the first work in which I used both the fischertechnik and Unistrut systems, the letters of the word 'time' became a focal point. I began by constructing the individual upper-case letters of the word out of fischertechnik modules and manipulated these four letters until I produced a construction that satisfied me. The four letters were located in vertical planes and were joined as shown in Fig. 2.

Fig. 2. Fischertechnik modelfor 'One Time'. 15.1x21.0x21.0 cm, 1976.

- Spring Nut

Basic Module

/ I

fischertechnik Unistrut

Fig. 1. Structural features of the fischertechnik (plastic) and Unistrut (metal) modular construction systems.

of both systems indicating their structural versatility. I decided to take advantage of the geometrical similarity of the two systems by undertaking works of sufficient complexity to require the developing of a fischertechnik model prior to constructing an object in Unistrut.

III. 'TIMEPIECES': TEN SERIALLY DEVELOPED STATIC CONSTRUCTIONS

In this section is described a subseries of 10 objects within the 'Timepieces' series. As I work-

Viewed from above the arrangement presents a square cross section. Using this as a model, I then constructed the four letters from Unistrut and assembled the scaled-up object (scale: approximately 3/1), entitling it 'One Time'.

Intrigued by how improbable this piece would have been to conceptualize and construct without the two systems and their geometrical similarity, I decided to proceed with the series by attempting increasingly complex constructions based on the multiple use of the word 'time'. These subsequent works would also serve to compound wordplay with notions of time and space. I developed an eight-letter model using the word 'time' twice; then I made a scale-up of the model using Uni- strut to form the construction 'Two Times'. The approach was fascinating, so I decided to continue the series to the tenth construction 'Ten Times', which would incorporate the word 'time' ten times.

The ten constructions in this serial group are shown in Fig. 3. Completing them in Unistrut required about 18 months. I often wondered why I had set off on such a laborious and long- duration series, but for some reason I was determined to complete the goal I had set for myself. The construction of each succeeding model became increasingly difficult, as did the scale-up with the Unistrut system. Each added 'time' introduced a new level of complexity in problem- solving to the model-building process. When the

6

Channel With Nut Inserted

Hex Bolt

.,~



'Timepieces': A Series of Static and Kinetic Sculptural Constructions

VA

Fig. 3. Objects 'One Time', 'Two Times', 'Three Times', ... 'Ten Times' (reading left to right), Unistrut (steel) components, measurements range from 48x60x60cm for 'One Time' to

227 x 108 x 116 cm for 'Ten Times', 1976-77.

number reached ten, the problem involved ma- nipulating 40 separate letters until an acceptable solution was reached.

The first construction led me to establish certain rules to which I adhered throughout the ten-object series: (1) All the letters of the word 'time' in its multiple use had to be incorporated into the construction: 'Two Times' had to use eight letters; 'Three Times', 12 letters, etc. (2) The fischertechnik model had to be feasible for scale-up with the use of standard Unistrut parts. (The two systems do have a number of incompat- ible features.) (3) Each construction had to be a self-supporting, free-standing form with no channel ends protruding.

The number of Unistrut components necessary to construct the four letters of the word 'time' was 56 (11 channel pieces, 9 fittings, 18 nuts and 18 bolts). Each succeeding object in the series required increasingly more parts, not only for more letters, but also for more letter-to-letter connections. The ten constructions required over 5000 parts. When I first decided on the goal of the ten objects, I did not realize that such a large number of parts would be required. After I had completed 'Six Times', my supply of some necessary Uni- strut parts was exhausted. Since the required

parts were too expensive for me to purchase, I approached a Unistrut distributor with photo- graphs of the six completed objects as well as my plans for the remaining ones. Initially, I encountered scepticism, but, after a visit to my studio, the firm's representatives became attracted to the unusual application of their product and generously agreed to supply sufficient material for me to finish the ten objects. In return I would furnish the company with thorough documentation of the work upon its completion.

The use of the fischertechnik system in developing models educated me in some of the rudiments of structural design. I realized how the use of hierarchically organized or nested modular systems can facilitate the conception, design and construction of complex structures. I felt as if I had made a major personal discovery when I encountered what, in essence, many architects take as obvious: that nested modular solutions to construction problems facilitate a minimum in- ventory of parts yielding maximum diversity of design possibilities. Also constructions based on modular systems can be developed into complex forms at a faster rate than if many discrete parts are manipulated individually. This notion has been discussed by H. A. Simon in his excellent design book The Sciences of the Artificial [8]. He points out that for biological forms 'the time required for the evolution of a complex form from simple elements depends critically on the num- bers and the distribution of potential intermediate stable forms'.

The ten completed constructions display three hierarchially ordered levels. The first level is the modular Unistrut components themselves. The second level consists of the four individual letters of the word 'time'. The third level involves the combinations of the four letters, in particular those combinations that, in turn, serve as modules in the constructions 'Eight Times', 'Nine Times' and 'Ten Times'. Partly as a result of this fact, the last three constructions in the series display various kinds of symmetry.

In developing the constructions described above, I sometimes imagined myself to be a kind of mechanism for materializing a fixed idea, in a manner suggestive of two of S. Lewitt's 35 Sen- tences on Conceptual Art [9]: No. 28-'Once the idea of the piece is established in the artist's mind and the final form is decided, the process is carried out blindly. There are many side effects that the artist cannot imagine. These may be used as ideas for new works.' No. 29-'The process is mechanical and should not be tampered with. It should run its course.'

IV. 'TIMEPIECES': KINETIC CONSTRUCTIONS

In this section I deal with three of the more complex kinetic constructions in the 'Timepieces' series. While the aforementioned compatibility of

7

f9"



Bryan Rogers

the fischertechnik and Unistrut systems was not required in the development of the overall form of these kinetic objects, making a model was essential in developing both their structural and electromechanical aspects.

The imagery and subject matter in these three constructions (to me, inseparable from the technology they employ) reflect my intention to char- acterize certain ambiguities in my experiencing of time. Moreover, I intend that the constructions operate effectively on visual, emotional and conceptual levels.

In contrast with the rigid design rules established for the preceding static constructions, these three kinetic objects stemmed from ideas and sketches from my year in Germany and were developed as a result of various conceptual trans- formations as well as material and technological considerations. Technically, the simplest of the pieces is 'Time of Your Life' (Fig. 4). The Ferris-

Fig. 4. 'Time of Your Life', wheelchair, baby carriage, electric gear motor, Unistrut (steel) components, miscellaneous hard-

ware, 281x265x 126 cm, 1978.

wheel-like construction rotates continually at a speed of 12 rpm, powered by an electric gear motor. A baby carriage and a wheelchair at the ends of rotating arms are bearing-mounted, per- mitting them to retain an upright position. The fischertechnik model for this piece (Fig. 5) was particularly useful in determining an appropriate rotational speed.

The subject matter of this construction prob- ably stems from my observations made while walking the streets of German cities. I was sur- prised by the number of wheelchairs (many occu-

Fig. 5. Fischertechnik model for 'Time of Your Life'. 88.6x78.7x30.5 cm, 1978.

pied by war victims) and baby carriages in evi- dence on the streets. Besides their number, their emphasis on stylish design especially caught my attention. Neither of these vehicles are seen so frequently on streets nor are Ferris wheels in a town square as common a sight in the U.S.A. Ferris wheels and assorted amusement park con- traptions seemed to appear overnight and dis- appear as quickly on public sites in Germany. Somehow these three objects coalesced in my mind into a single object. That they did still fascinates me.

'A Matter of Time' is a technically more com- plicated construction (Fig. 6). It centers around a water-filled aquarium containing a single live goldfish. A pointed steel rod, poised vertically over the aquarium, is periodically thrust from a pneumatic cylinder into the water. After remaining motionless in the water for a few seconds, the rod is then swiftly withdrawn. Air from the compressor, shown at the base in Fig. 6, aerates the water in the aquarium through a small fritted- glass bubbler. Although the pointed steel rod is thrust into the water at intervals of a few minutes, as determined by a mechanical timer, the fish remains alive and part of the piece. The chances of the fish's being impaled by the rod are extremely small. To many observers, however, the fish's situation appears perilous.

The most complex construction in the series, 'Perfect Timing', was assembled over a 12-month

I

8




Fig. 6. 'A Matter of Time', goldfish, water, glass aquarium, compressor, pneumatic cylinder and control valve, timer, Unistrut (steel) components, miscellaneous hardware,

224x 106x76 cm, 1977.

period (Fig. 7). Basically, I consider the piece to be a programmed mechanical model for the performance of a particular essential human activity. It is a result of my thinking about the assorted models for human behaviour that govern the timed performance of routine activities of living. Often these models are embodied in personali- ties, sometimes in cultural documents. The models may be quite explicit and openly articulated, or they may be vague, confused and enshrouded in mystery. In the latter case, performance is left to a personal trial-and-error process with no mani- fest external witnesses or models prevalent for judging and comparing. Such seems to me to be the case with the particular activity depicted in the object 'Perfect Timing'. The existence of this object, however, now ensures that at least one time-articulated model is available for this activity.

The piece can be divided functionally into four subsystems: (1) the structural system, (2) the electromechanical system, including a compress- or, electric control valves connected to pneumatic cylinders, and a DC motor, (3) an electronic timer system containing the digital programmer that controls the operation of the piece and (4) the interface system that connects the timer with the electromechanical system.

To design the structural system, a fischertechnik model was first developed. Making a model expedited the design of the piece, particularly in ascertaining the length of the pneumatic cylinders and in determining the linkage of their motion. When the model was completed, Unistrut parts

and an old steel bed frame were used to build the structural system. For stability, rather large, heavy-duty Unistrut channel was employed because the pneumatic system would be applying considerable stress to the structure.

The schematic diagram in Fig. 8 indicates the design and interrelationships of the electromechanical, electronic and interface systems. A DC motor (M) is mounted in the center of the bed frame and revolves the spiral disk (SD), a horizontally mounted aluminum disk upon which a red and white spiral has been painted (Fig. 7). A DC motor was chosen because of the ease with which its speed can be varied and controlled over a wide range. Two pneumatic cylinders (PC1 and PC2) are controlled by the two 4-way solenoid valves (S4 and S5, respectively). The smaller of the two cylinders (PC2) rotates the larger cylinder from a horizontal to a vertical position. Once vertical, the piston of the larger cylinder is in a position to pass through a circular aperture at the center of the spiral disk. The 2-way solenoid valves (S1, S2 and S3) are connected in parallel to the air-supply line. In various combinations, they, along with the pressure regulator (PR), control the rate at which air is supplied to the large cylinder. The remaining 2-way solenoid valve (S6) is used to exhaust the air from the compressor tank (C).

The interface system (I) is mounted on the bed frame structure. Included in I is a rectifier unit (PS1) for supplying direct current, 48V, to the solenoid valves, to the DC motor, and to a relay (RL) used for switching the AC-powered compressor. The DC motor speed and, hence, the spiral disk speed, are controlled by three variable resistors (R1, R2, R3) connected in parallel. Just as the various combinations of the 2-way valves (S1, S2 and S3) are used to control the piston speed, combinations of R1, R2 and R3 are used to control the motor speed. In fact, the same combinations of these three resistors and three valves are switched simultaneously by the timer system (T), synchronizing the speed variations of the revolving spiral disk with those of the piston passing through the aperture in the disk.

The timer system (T) hangs separately on a wall. This separation isolates the relatively sensi- tive electronic unit from electrical noise and phy- sical vibration of the rest of the system. (I suggest here an inference of mind-body separation also.) The timer's programmer unit (P) utilizes seven semiconductor IC (integrated circuit) chips, one of which is known as a 'PROM' (Programmable Read-Only Memory). The PROM's memory is not programmed during fabrication; rather it is designed to be programmed by the user with a special electronic unit. Its program can be erased by ultraviolet light, and the chip can be reprogrammed repeatedly. The program is a sequence of instructions that specify the devices to be switched on and off and the duration of the on-and-off switching cycles. The minimum time

9



Bryan Rogers

A I? .

t

fr;

:

it i"

:

.

V

. .

fi

I

:

I

i .4 i

\ i t

I)

"

-J

Fig. 7. 'Perfect Timing', steel bed frame, Unistrut (steel) components, compressor, pneumatic cylinders and solenoid control valves, electric motor, electronic programmer, miscellaneous electrical and mechanical hardware, 163x206x137cm (main structure), 32x32x10cm (wall-mounted timer unit),

1978. unit available in the programmer circuit was selected to be approximately one-quarter of a second; switching cycles are, therefore, multiples of this time unit. Also included in the timer system is a power supply (PS2) to supply the programmer circuit with a small DC voltage, 5V, and a bank of solid-state relays (SSR). The relays use the low-voltage impulses produced by the programmer circuit to switch the high-voltage devices connected to the interface unit discussed above.

To test and troubleshoot the electromechanical and interface systems, a manual switch box (MS) was used in place of the timer system. With the use of the manual switch box, ideas for the initial program to be imprinted on the PROM were developed. The PROM was then reprogrammed repeatedly until the final program was determined.

The complete sequence of the piece repeats every 20 minutes and includes considerable noise and visually stimulating mechanical activity. The first programmed step is the charging of the air compressor tank, requiring approximately five minutes. During the latter part of this step the motor-driven spiral disk begins to revolve slowly. (The visual effects produced by a revolving spiral are pronounced, almost hypnotic. Defying simple description, the effects become increasingly significant as the speed of revolution of the disk increases.) When the pressure in the tank reaches a specified level, the compressor shuts off and the spiral disk continues to revolve. Then, at a given signal, the small pneumatic cylinder is actuated to rotate the large cylinder very slowly to a vertical position perpendicular to the disk and in line with its central aperture. Then the large cylinder is actuated periodically, causing its piston to recip-

10




Fig. 8. Schematic diagram for 'Perfect Timing'.

rocate in and out of the aperture. Initially both the speed of the piston and its reciprocation cycle are quite slow, on the order of one cycle every 10 seconds. Gradually the reciprocation cycle frequency is increased, as are the synchronized speeds of piston motion and disk revolution. (The piston cycling or reciprocation frequency is controlled by the switching of the 4-way solenoid valve (S4), while the actual linear velocity of the moving piston is controlled by the flow rate of the air allowed through S4 by the upstream combina- tion of the three 2-way valves connected in parallel (S1, S2 and S3).) The gradual increase of the disk revolution speed and of the piston speed and frequency continues in uniform increments until a frenetic, although controlled, level of activity is reached. Then suddenly, the exhaust valve (S6) opens for several seconds, loudly releasing a large volume of air. Finally, with the large piston retracted, the small pneumatic cylinder slowly rotates the large cylinder to its horizontal rest position. The spiral disk, turning at a very slow rate once again, continues to revolve for a few minutes, then slows to a stop. The piece remains motionless for 10 minutes before the 10-minute activity cycle repeats.

V. COMMENTARY

The last construction described above was the most complex and most difficult object that I have attempted. While my intention is to keep the direction of my future work open, I expect to continue constructions of increasing complexity that involve materials and processes that are more common in science and industry than in the visual

arts. I am attracted by both the problems and the possibilities of this way of working.

My technical background in engineering has, of course, facilitated my doing the kind of work discussed above. This background has provided me not only with technical information but, more importantly, with a kind of designer's mentality. The effective and efficient use of technology demands designing abilities, including conceptualizing, problem-solving and planning. But the kind of spontaneity that characterizes certain styles of painting cannot be employed successfully in functional applications of integrated circuit chips. Rather one must be able and willing to work with the patience, rational methodology and organization required by the designing process. This presents a major difficulty for many artists, both because they are often temperamentally unsuited and because current art education does little to develop abilities needed in design. With respect to temperament, I must admit that the process of design can often block, or at least render circuitous, the path of a spontaneous impulse leading to a completed artwork.

Even for artists with strong technical back- grounds, working with advanced technologies presents difficulties. One difficulty is usually the high cost of obtaining access to facilities and of purchasing special materials. Very few artists, especially those working outside of institutions, have the necessary funds. In some instances this difficulty is relieved by technology itself, for ex- ample by the recent introduction of relatively inexpensive microcomputers.

A less obvious, perhaps more insidious difficulty facing artists working with advanced technologies is an isolation imposed by museums, com- mercial galleries and art schools. Usually these organisations are neither appropriately staffed nor physically prepared to deal with non- traditional artworks [10]. The isolation can also be imposed by an artist's peers, most of whom are engaged in traditional art activities. Even when their work is innovative, it is commonly devoid of applications of advanced technologies and new materials. Consequently, artists who use new materials or new technologies and apply scientific concepts may need to establish connections with peers in other disciplines where such things are of everyday concern, as in architecture, science and engineering.

None of these difficulties mentioned above is insurmountable; they must, however, be con- fronted as part of the process of using the ideas, methods, and materials of contemporary science and advanced technology in the visual arts.

It appears to me that the visual arts are relega- ted to an undesirable hermetic position in today's industrialized societies. This seems especially apparent when the visual arts are compared to performing arts such as cinema, music, theatre, dance and television. Perhaps the direct involve- ment of many of the performing arts with ad-

11



Bryan Rogers

vanced technology can, in part, be used as a measure of their relevance and vitality. Today's industrialized societies are characterized by a scientific/technological ethos. Anthropologists and archaeologists a thousand years from now, in trying to understand these societies would, I venture to guess, consider the activities of the aerospace and computer industries as much more informative than those of contemporary visual artists. This would contrast with the present process of using artistic remains as a primary means for decoding significant aspects of past cultures.

I believe that artistic sensibility has a vital role in society. Artists often have a psychic distance from society's day-to-day activities that may im- bue their works with incisive commentary. However, in industrialized societies the critical interactions seem to be reflections of science and technology. If visual artists intend to interact with the culture-at-large, then I believe that they must address this issue. While I appreciate the relative importance of the autonomy of the visual arts, I would like to see their having a broader social impact. I do not think the autonomy would be threatened if artists ventured more into the main- stream of ways of life in industrial societies.

Acknowledgement-The generous financial and material support of the Deutscher Akademischer Austaus- chdienst, Fischer-Werke, San Francisco State Universi-

ty and the Unistrut Corporation is gratefully acknow- ledged; all played a significant role in encouraging the work described above. In particular, I wish to thank Michael Smith, Director of the Baxter Art Gallery at the California Institute of Technology, whose personal support and offer of an exhibition at the inception of this series gave me a tangible incentive to complete it.

REFERENCES

1. Bryan Rogers: Timepieces, Exhibition catalogue (Pasade- na, Calif.: Baxter Art Gallery, California Inst. of Tech- nology, 1979).

2. A. Gummerson, On My Work with Verbal-Visual Puns and Assemblages, Leonardo 1, 59 (1971).

3. T. Hunkin, Sculpture: Fantasy Machines, Leonardo 4, 151 (1971).

4. D. Newmark, An Interview with Stephen Von Huene on His Audio-Kinetic Sculptures, Leonardo 5, 69 (1972).

5. C. Alexander, Sculpture: Science Fiction Machines, Leonardo 9, 119 (1976).

6. B. Rogers, The 'Umbrella Series': Static and Kinetic Constructions, Leonardo 9, 265 (1976).

7. Naivitit der Maschine, Exhibition catalogue (Frankfurt, Kunstverein, 1974).

8. H. A. Simon, The Sciences of the Artificial (Cambridge, Mass.: M.I.T. Press, 1969) p. 93.

9. S. Lewitt, Sentences on Conceptual Art, 1968, Art- Language 1 (1969).

10. F. J. Malina, Electric Light as a Medium in the Visual Fine Arts: A Memoir, Leonardo 8, 109 (1975) p. 118.

12



timepieces': a series of static and kinetic sculptural constructions

Documents