Reading Reflection 2

The development of machine art and kinetic art, as well as the changes in their meanings, reflect both the collaboration and tension between humans and technology. In his first chapter, Broeckmann points out that there is no definitive answer to what machine art actually is. Since its emergence, definitions of and attitudes toward machine art have been diverse and constantly changing. The main debate centers on whether the involvement of machines affects human subjectivity in artistic creation, and what role machines should play. For example, whether machine art should consist of “useless” machines. After reading, I think that with the continuous advancement of technology, it is possible for art and machines to reach a more harmonious collaboration. What artists need to consider is how to actively and selectively use machines, and even redesign them, in order to integrate them into their work. As for kinetic art, in my understanding, it does not necessarily require technology, but the introduction and development of technology have allowed it to be expressed in more compelling ways. According to Jack Burnham, kinetic art technology plays an important role in driving its development. However, for both of these fields, I think the focus should not simply be on technology itself, but on how to better use increasingly advanced technologies to create new forms of art. As Burnham argues, “the machine can never be taken for granted,” and the encounter between art and machines continues to produce meaningful work across multiple aesthetic dimensions, including the associative, symbolic, formalist, kinetic, and automatic.

Marcel Duchamp’s work Rotating Glass Plates reflects the formalist, kinetic, and automatic aspects identified by Broeckmann. The work does not focus on the practical function of the machine, but instead uses mechanical rotation to create optical effects, emphasizing perception and visual structure. What the viewer experiences is a rotating mechanism, appreciating both the structural beauty and the dynamic movement of the machine. At the same time, the rotation produces a spatial illusion, changing how the viewer understands form and motion. As Burnham states, “The particular movement of his perception solidifies a measure of time in which the work realizes itself for him.” When viewers gaze at the rotating glass plates, their perception of the artwork and space shifts. For me, it feels as if I enter a unique space created by the moving object, experiencing its patterns and rhythms of motion.

Duchamp’s other work, The Bride Stripped Bare by Her Bachelors, reflects the formalist, associative, and symbolic aspects described by Broeckmann. The work is composed on two large glass panels, using materials such as lead wire, tin foil, dust, and varnish to create complex, diagram-like forms. Duchamp introduces a method similar to mechanical drafting into artistic creation. The piece includes many elements that resemble mechanical components, which appear to connect and operate together, forming a unique mechanical aesthetic. This reflects Duchamp’s attention to and exploration of modern industrial civilization and machine culture. At the same time, the work carries deeper social meaning, using machine aesthetics to expand the conceptual depth of the artwork.

Julio Le Parc’s Continuel Lumière Mobile creates constantly shifting patterns of light and shadow through suspended reflective elements and a light source, highlighting the dynamic beauty of light. The materials he uses are very simple, but through mechanical movement, these materials are activated and combined with light, space, and vision to break conventional ways of perceiving matter and space, offering viewers a fresh visual and spatial experience. As Burnham mentions, Le Parc places great emphasis on the viewer’s experience. The movement in his works often contains a degree of randomness, which stimulates changes in perception and encourages viewer engagement.

His other work, Zeppelin de Acero, is composed of many suspended steel plates that form a large floating metallic structure. The reflective steel surface and simplified industrial form emphasize the formalist aspect, focusing attention on material, structure, and the visual qualities of metal. At the same time, the work suggests a connection to technological objects such as airships or industrial design, linking it to broader ideas of modernity and industrial culture. Its distinctive structure leads viewers to associate it with a zeppelin, and the continuous rotation and swaying of the steel elements create a sense of mechanical movement. Together, the structure and motion generate a new perceptual experience for the viewer.

Reading these works has changed how I view machines in art. I used to think that machines were mainly tools that helped artists create, but now I realize that they can collaborate with art more deeply and become part of the content itself. The formal and dynamic qualities produced by machines can shape how we perceive, experience, and understand a work. I also find myself paying more attention to the importance of constructing a perceptual space in machine and kinetic art. Kinetic art requires the viewer to engage with it dynamically. As viewers change their position and focus, the artwork can generate different visual experiences. I think this is the unique charm of kinetic art—it has a strong sense of movement and freshness.

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