Hans Haacke, German b.1936

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[09] interview of Haacke by Burnham published in Force Fields

HH on the categories currently address in Kinetics
- there is no similarity between Gabo and Duchamp, Rickey and Tinguely
- extremely slow change, speed, rhythm, steady flow, change in time, precise machine-controlled motion, and organic movement feeding on natural forces

random behavior currently (then) alot of attention, viewer an active participant often acting as the generator (in the work of Agam, Soto, etc.)

[09, p296]
HH on machine vs. organic 
"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 patterns of time. Man is in tune with this timing: his breathing rhythm, his heartbeat, in short, the functioning of his whole body, and I would guess also the flow of his thoughts, are of a comparable nature. In contrast to this, artificial timing, as experienced daily in all highly industrialized societies, creates nervous tensions and probably contributes a great deal to the illnesses of just these social organizations." 

[09, p297]
HH on technology and the artist 
"Granted, technical training in the plastic arts is inadequate today, but when has it ever been able to meet the demands of the avant-garde? Many of today's sculptors have learned what they know from outside sources, not schools. It makes sense, however, to advocate training in working with new materials like plastics and electronic engineering."

[09, p298]
HH on interactivity 
"A number of things I have made require the participation of the viewer. Otherwise they are dead. I like this physical involvement. It establishes an interdependence between viewer and object. In larger pieces which would not allow handling, I would use photocells to retain this intimate relationship. But, as you know, I have also made things which change independently of the viewer, reacting with their environment."


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[07] Jack Burnam, Beyond Modern Sculpture

[07, p279]
uses non-mechanical motion and natural time

work with water
- freezing, gravity, evaporation, condensation, moisture

in opposition to tinguely or schoffer and more like calder and rickey 

weather cube (or condensation cube), 1965

began creating wind and water construction in 1963
- this work was extremely different from previous sculpture, typically appreciated for it's form

"... array of transparent, plastic boxes filled with colored and clear liquids. These liquids perform various activities -- dripping, trickling, oozing, splashing, and condensing -- in the spirit of turbulent weather conitions or the internal secretion of organisms..."

can be considered self-organizing and self-stabilizing as a process of water condensing to the surface or wind sculptures, but he does this without electrical or mechanical feedback -- do to gravity and the physical constraints/properties of the materials

Grass Cube
- most like a living system
- several square feet of grass growing in a thin layer of soil and growing on top of a plexi-glass cube 

cyclical processes which manifest evidences of natural feedback and equilibrium

"environmental systems philosophy"

 
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[30] from Peter Seltz

"...make something which experiences, reacts to the environment, changes, is non-stabile...
...make something indeterminate, that always looks different, the shape of which cannot be predicted precisely...
...make something that reacts to light and temperature changes, that is subject to air currents and depends, in its functioning, on the forces of gravity...
...make something that lives in time and allows the "spectator" to experience time..."

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[14] Hulten, The Machine

Ice Stick, 1966

in the 1960, his work can be characterized as "collaboration with the forces of nature"
technology exemplified in a refrigeration unit, artificially produces a natural phenomenon: cold