Born from the Russian constructivism, Art that allies ingeniously advanced technology and engineering, kinetic art adopted motion as its driving force to differentiate itself.? ? Strictly powered by wind, a motor or anyone, we flirt with the realm of science-fiction!
Among a large choice of sculptors, our attention captured in our nets of curiosity, atypical animated post-historic animals “standbeests” evolving majestically as the Animaris Ondula on the beaches of Netherlands.
Made with electric tubes moving in the principle of the wheel, those gigantic animals have sensitive organs as a brain (that steps counts, changing the facto the pattern of zeros and ones when an obstacle appears) and a nose utilized as a tiller. Their mission so far is to learn how to survive in an hostile environment.
Like the father of creative engineering (Da Vinci) did with his Vitruvian Man by setting the Canon of proportions, by relating man to nature, Theo Jansen uses nature to relate his kinetic sculptures, juggling essentially with genetic algorithms.
As Da Vinci, Jansen in his experimental approach, studies, analyzes, doubts, succeeds and fails.
His main problem to challenge is how to move while being aware of the obstacles (and avoid them)! Consequently his futuristic dinosaurs dispose of artificial intelligence enabling them to “recognize” their limitations (the end of the dry sand arm and the beginning of the ocean) to automatically adapt themselves to the environmental and climatic configurations.