Cyclical Motion: Ten Truisms by Dan Senn .

Visable and invisible motion merge along a continuum at about 20 cps.

Subaudible vibrations may be experienced as periodic and rhythmic motion,
like a leaf oscillating in the wind.

Audible vibrations are an "invisible" form of periodic motion and are experienced
as sound.

Both subaudible and audible sound may be experienced through the sense of
touch or feeling--hearing may be considered a tactile sense.

Subaudible (cyclical) motion can be used as a symmetric (recursive, repetitive)
visual element in a work of sculpture.

Subaudible motion can be used to strike resonant objects, to push and pull
materials (monofilament, air columns), and to energize second and third levels
of conditional complexity (contingencies).

Subaudible motion, live or stored, can be used to create time-based sound
(musical) compositions.

Just as subaudible (cyclical) motion can be used in a kinetic sculpture without
intended sonic effect, invisible audible motion (also cyclical) can be used without
intended visual effect.

Subaudible motion can used as a linear and organized kinetic element in a
sculpture while redundantly producing sonic artifacts of equivalent complexity.

The symbiotic ideal...

Subaudible motion can be used as a beautiful kinetic element within a sculptural work while producing musical compositions of equivalent beauty. In this balanced state, the kinetic aspects should stand alone without assistance from the sound, and the sounding aspects should stand alone without assistance from the visible motion. This is the point where a powerful paradox emerges. As the information flow increases, the perceived complexity decreases as the visual elements "explain" and illuminate the aural, and the aural "explain" and amplify the visual.

... in this way, symbiosis is achieved between sight and sound.

©Dan Senn 2007
From Portland Art Center lecture, 1/25/07.