Borja-Villel, Manuel J. et al. Force Fields: Phases of the Kinetic. Museu d'Art Contemporani. Barcelona. 2000 
Catalog of an exhibition held in Barcelona at the MACBA, Apr. 19-June 18, 2000, and at Hayward Gallery, London July 13-Sep. 17, 2000. A new reading of art 1920-1970, a re-assessment of kinetic art

[09, p10]
"There are only movement and repose relative to one another: the movement of the elements of a work relative to its static base or frame or environment, the movement of the spectator relative to the work, the movement of a drawing hand relative to the resulting marks."

maybe movement doesn't exist
Duchamp joked, "What does he call movement, your fellow? If he defines it in opposition to rest, that doesn't work, because nothing is at rest in the universe. So? His movement is nothing but a myth?"

[09, p14] 
on Gabo's standing wave
"Simple as it may look today, to produce this 'standing wave' in the precarious conditions of Russia in 1920, to find or improvise the components in a country immersed in civil war and scarcity, took tremendous determinations and ingenuity, testifying to the intensity of Gabo's visionary enthusiasm."
"Gabo never believed there was sufficient technical basis for an artistic language using actual motion."

[09, p15]
Calder's life work was dedicated to the interaction of an object with its surroundings.
- notion of sculptural mass beyond gravity (motors)
- open-up to outside influence (air, or human push)

[09, p17]
"...Calder's development of abstraction, which passes beyond a system of representation to a system of forces acting in space and time."


[09, p267] 
Umberto Eco
"...the two streams of artists really pursued the same aim to enlarge the patterns of perception and enjoyment." 
"...the liberation of man from acquired formal habits. And consequently the breakdown of perceptual schema. If perceptual habits encouraged one to appreciate a form as something fixed, then it was necessary to invent forms which never allowed one's attention to rest, forms always appearing different from themselves"

[09, p294]
reprint of statement from Hans Haacke
"...make something which experiences, reacts to its environment, changes, is non-stable...
...make something which looks indeterminate, which always looks different, the shape of which cannot be predicted precisely...
...make something which cannot perform without the assistance of the environment...
...make something which reacts to light and temperature changes, is subject to air currents and depends, in its functioning, on the forces of gravity...
...make something which the 'spectator' handles, with which he plays and this animates...
...make something which lives in time and makes the 'spectator' experience time...
...articulate something natural..."


[09, p228]
Realistic Manifesto by Gabo & Pevsner
(extremely different from that presented in Vision in Motion)

[09, p229] 
Dynamic-Constructive Energy-System
"Carried further, the dynamic single-construction leads to the DYNAMIC-CONSTRUCTIVE ENERGY-SYSTEM, with the beholder, hitherto receptive in this contemplation of art-works, undergoing a greater heightening of his powers than ever before and Actually becoming an active factor in the play of forces."


[09, p296]
Hans Haacke in interview with Jack Burnam
"Machines have a different temporal effect on human beings, that is, create a different effect on the nervous system, than nature's timing. Sunrise and sunset, the tides, running water, the movement of clouds, and the glittering reflections of water are only a few examples of natural patterns of time. Man is in tune with this timing..."
(more)

[09, p297] 
Haacke on technical education for sculptors