Pol Bury, b1922, Belgian ///// Frank Popper, Origins and Development of Kinetic Art - initially stimulated by Calder [23, p128] first worked on Mobile Planes, masonite sculpture that relied on the viewer for movement - modifying the composition through movement and inviting the spectator to participate with the work - exhibited Mobile Planes at Gallery Apollo, Brussels in 1953 next worked on Multi-planes 1957-59, similar in form but automated by small motors - turned very slowly and transformed the composition almost without the spectators knowing - a range of kinetic movement that had yet to be explored post 1959, complicated structures in wood, metal, nylon - work suggests the teeming movement of micro-organisms, sea urchins, or anemones - the motor should be hidden - there should be as much chance as possible - the movement should be "anonymous, silent, and supernatural" "Just as the painter benefits from knowing some of the elementary theories of the laws of colour, I have felt myself obliged to take certain mechanical principles into account. Since the micro-motors which I use have a limited power, I have been able to exploit the principle of the inclined plane, for instance, to animated elements whose weight exceeded the capacities of the motor. This is a long way from painting and sculpture." ///// The Movement in 1953 abandoned painting and began first mobile sculptures in 1957 began incorporating electric motors, and therefore the characteristic slowness in his work (combining the perceptible and the imperceptible) [10, p20] from Time Dialated - the slow speed removes weight, gravity, path - becomes more of a journey without beginning or end, perpetual - "Between the immobile and mobility, a certain quality of slowness reveals to us a field of "actions" in which the eye is no longer able to trace an object's journeys...Journeys avoid "programmization" in the degree that they are endowed with a quality of slowness; they finally achieve a real or fictional liberty, a liberty acting on its own account and for its own pleasure...Speed limits space, slowness multiplies it." Plan Mobile 4, 1954 - three planes, each manipulable, each its own degree of freedom "By distributing these forms in three successive planes, I managed to give each of them an axis. That of the first plane was fixed on to the second plane, that of the second fixed on to the third, while the third was fixed to the wall. It was possible to turn the first plane while the other two remained motionless. This permitted in theory an infinite number of pictorial combinations." ///// Jack Burnam, Beyond Modern Sculpture is regard to Bury's statement in Time Dialated - in contrast to most kinetic movement which is macroscopic or immaterial, his is microscopic with the ball sculptures, cords lead to random actuating device his work is most powerful when presented as a group, experiencing through the periphery, it is possible to feel the creaks [07, p272] "Through silence, one feels the creaking of cords, spools, and linked shapes from all directions. Out of the corners of the eyes hundreds of multisensual movements take place imperceptibly. As in the hull of a sailing ship, wood strains against wood as the elements press against the live shell of doweled beams and planks. Without the interference of other human visitors, a room of Bury sculptures rocks with subliminal activity."