Kinetic Nature Tech and Floating Concrete Vision for Biophilic Experiential Art

Section One: Introduction

1.1 Research Background and Significance

Macro Context

Modern urban life creates widespread biophilic disconnection: most people spend nearly all daily hours indoors, separated from natural rhythms of wind, plant growth, and animal flocking. Digital overstimulation dulls embodied sensory responses to organic movement, worsening mental fatigue and ecological apathy. Meanwhile, contemporary experiential art splits into two siloed camps: purely natural, low-tech installations that lack scalable urban deployment, and cold computational media art that ignores human biological instinct toward nature. Lonneke Gordijn’s April 2023 TED2023 talk presents Studio DRIFT’s unified creative model, which uses advanced robotics, drone swarms, and kinetic materials to translate invisible natural patterns into visceral, body-triggered art experiences—including the iconic “flying concrete” sculpture unveiled live on the TED theater stage.

Practical Significance

For installation artists, landscape architects, museum curators, public space designers, and technology creatives, Gordijn’s practice delivers a replicable interdisciplinary workflow that merges natural science research, engineering prototyping, and emotional sensory design. Practitioners learn to build accessible, scalable public art that generates genuine biophilic calm without relying on living plant ecosystems or large outdoor green spaces. The model solves a critical urban design gap: how to embed nature’s restorative sensory language into concrete, built environments where traditional green space is limited. Corporations, municipal planners, and cultural institutions gain a blueprint for public art that balances technical spectacle with ecological reflection.

Theoretical Significance

Existing biophilic art theory prioritizes direct exposure to living flora and fauna, leaving an unaddressed gap for tech-mediated nature connection. Gordijn’s framework supplements biophilic design scholarship by formalizing a core argument: humans respond instinctively to natural movement patterns, not only living organisms. Her work establishes a new theoretical branch of kinetic experiential art that positions technology as a translator for invisible natural phenomena, rather than a rival to nature. It also reframes industrial materials like concrete as poetic, malleable artistic mediums, challenging art theory that dismisses heavy construction materials as cold or lifeless.

1.2 Core Concept Definitions

• DRIFT-style nature kinetic art: Multidisciplinary experiential works engineered to replicate natural movement algorithms (flower nyctinasty, starling murmurations, wind fluid dynamics) using robotics, drones, light systems, and reimagined industrial materials, designed to trigger innate human biophilic sensory responses.
• Biophilic sensory resonance: Gordijn’s central term—the automatic, calming physical reaction human bodies have to slow, fluid, group-coordinated movement found in forests, flocks, or tides, which her artworks artificially recreate indoors or in dense urban spaces.
• Flying concrete installation: The site-specific kinetic sculpture revealed at TED2023: suspended concrete blocks controlled by precision robotics to float, drift, and shift in weightless choreography, recontextualizing rigid construction material as a vessel for natural rhythm.
• Murmuration drone performance (Franchise Freedom): Studio DRIFT’s landmark swarm artwork, hundreds of illuminated drones programmed with starling flocking algorithms to create living, evolving aerial sculptures mirroring wild bird behavior.
• Shylight flowering light installations: Hanging mechanical light sculptures that open and close like nocturnal flowers, responding to ambient light and human proximity to mimic plant circadian movement.
• Scope boundary: This analysis centers exclusively on Gordijn’s 2023 TED presentation, Studio DRIFT’s core artworks highlighted during the talk, and her studio’s interdisciplinary creative methodology; it excludes purely digital screen media art that lacks physical kinetic sculpture components.

1.3 Current Research Status, Domestic and International

Development History and Key Milestones

The intersection of biophilic design and kinetic technology art emerged slowly through the two-thousands. Key milestones aligning with Gordijn’s trajectory: the 2007 founding of Studio DRIFT by Lonneke Gordijn and Ralph Nauta at Design Academy Eindhoven; the 2012 debut of Shylight flowering sculptures; the 2017 premiere of Franchise Freedom drone murmurations; the April 2023 TED2023 conference where Gordijn unveiled the flying concrete sculpture; and large-scale public exhibitions in Central Park, Centre Pompidou, and The Shed NYC through the mid-twenty-twentiesStudio Dri.... Prior to DRIFT, few artist collectives merged material science, swarm robotics, and biophilic research into a single cohesive creative practice.

Mainstream Viewpoints and Schools of Thought

Three dominant competing frameworks shape contemporary nature-focused experiential art:

1. Traditional biophilic installation: Relies on live plants, water features, and natural raw materials; rejects heavy robotics or digital intervention as artificial and disconnected from authentic nature.
2. Tech-only computational media art: Prioritizes algorithmic visuals and projection mapping; prioritizes technological innovation over biological human sensory response.
3. DRIFT’s hybrid kinetic nature art (Gordijn’s school): Balances rigorous natural science research, custom mechanical engineering, and heavy industrial materials to recreate organic movement patterns for embodied audience resonance, framing technology as a bridge to nature rather than a replacement.

Shortcomings and Controversies

Major unresolved tensions limit universal adoption of Gordijn’s model. First, large-scale kinetic and drone art carries extreme cost and regulatory barriers, making it inaccessible to independent artists without institutional funding. Second, critics argue robotic replicas of natural systems risk replacing investment in real ecological restoration, substituting artificial biophilic spectacle for tangible environmental action. Third, drone performances face strict aviation safety restrictions in dense urban zones, limiting public deployment opportunities. Most existing art and design literature fails to formalize the step-by-step interdisciplinary process Gordijn demonstrates in her TED talk, leaving practitioners without clear replicable workflows.

1.4 Framework and Core Objectives

This article adopts Option C — Case Studies / Empirical Analysis as its primary structural module, treating Lonneke Gordijn’s 2023 TED2023 presentation and three flagship DRIFT artworks (Shylight, Franchise Freedom, flying concrete) as interconnected empirical case studies for kinetic biophilic experiential art. The logical flow progresses from diagnosing modern biophilic disconnection as a cultural crisis, unpacking each artwork as a distinct test of Gordijn’s sensory resonance theory, analyzing the studio’s cross-disciplinary development process, extracting replicable creative lessons for designers and artists, addressing common misconceptions about tech-mediated nature art, and closing with long-term cultural and urban design trends.

Core Research Questions Answered

1. What central biological premise about human sensory response to natural movement anchors all of Lonneke Gordijn’s artistic practice as shared in her TED talk?
2. How do the three core DRIFT works shown at TED (flowering lights, murmurating drones, flying concrete) each prove distinct facets of her biophilic kinetic art theory?
3. What cross-disciplinary collaborative workflow does Gordijn’s studio use to translate natural scientific data into large-scale public kinetic art installations?

Key Takeaways for Readers

Readers will grasp how engineered movement patterns trigger innate human calm regardless of whether the artwork uses living natural materials, learn a cross-team creative process merging biologists, engineers, and artists, identify actionable ways to integrate scaled-down kinetic nature design into low-budget public and private spaces, and unpack the critical distinction between artificial biophilic spectacle and genuine ecological reflection.

Section Two: Main Body (Option C — Case Studies / Empirical Analysis)

2C.1 Rationale for Selecting the Case

Gordijn’s TED2023 presentation and its three featured artworks form an ideal unified case study for three core reasons. First, the talk delivers a complete, linear narrative that moves from small intimate indoor sculptures (Shylight) to large aerial public performances (Franchise Freedom) to raw industrial material kinetic art (flying concrete), tracing a full spectrum of scale and medium for her core theory. Second, Gordijn grounds every artistic choice in observable human biological instinct rather than abstract aesthetic philosophy, pairing visual artwork demonstrations with clear sensory science reasoning that creates testable empirical claims. Third, the live reveal of the flying concrete sculpture inside the TED theater provides a unique on-site data point of audience embodied reaction, offering firsthand proof of how rigid industrial materials recontextualized through natural movement generate powerful emotional connection.

2C.2 Background and Basic Situation

Artist and Studio Institutional Context

Lonneke Gordijn is one half of Amsterdam-based multidisciplinary art duo Studio DRIFT, co-founded with Ralph Nauta in 2007 after their joint studies at Design Academy EindhovenStudio Dri.... Gordijn’s creative vision centers on bridging human bodies and planetary natural systems through custom-engineered kinetic art; her studio employs a cross-functional team of over forty specialists including software developers, robotic engineers, material scientists, biologists, and sculptors to turn natural movement research into physical artworkStudio Dri.... Her core studio mission: “Manifest the phenomena and hidden properties of nature with the use of technology in order to learn from the Earth’s underlying mechanisms and to re-establish our connection to it”Studio Dri....

TED2023 Presentation Context

Recorded April of twenty twenty-three at the official TED2023 conference in Vancouver, the talk opens with Gordijn’s central thesis question: If human bodies automatically find peace in forest movement and natural rhythms, can technology-built art recreate that same restorative feeling without access to wild green spaces? She walks the audience through two established DRIFT works before revealing the never-before-seen flying concrete kinetic sculpture hidden within the TED theater’s stage shadows, closing with a vision for urban public art that heals modern humanity’s broken bond with nature. The conversation frames technology not as a barrier to nature, but as a translation tool to make invisible natural patterns visible to urban audiences.

Core Case Premise Background

Gordijn’s foundational diagnostic: Modern urban societies suffer a universal sensory deprivation of organic movement. Concrete buildings, static digital screens, and rigid manufactured environments eliminate the slow, fluid, coordinated motion humans evolved to find calming. Conventional art either reproduces static images of nature or deploys unregulated digital effects that fail to mirror natural rhythm. DRIFT’s kinetic works solve this gap by coding mechanical systems to precisely replicate natural movement algorithms, triggering the same subconscious biophilic relaxation response that people experience walking through forests or watching flocks of birds.

2C.3 Analytical Dimensions and Data Sources

Core Analytical Dimensions

1. Biological sensory dimension: Human innate physical responses to natural fluid movement, Gordijn’s core biophilic premise.
2. Medium comparison dimension: Contrast across three distinct DRIFT case works—light sculpture, drone swarm, industrial concrete robotics—to test how different materials deliver identical biophilic resonance.
3. Interdisciplinary production dimension: Studio DRIFT’s cross-team workflow merging natural science research, engineering prototyping, and artistic choreography.
4. Material recontextualization dimension: The flying concrete installation as a radical reimagining of inert industrial building material as a carrier of natural rhythm.
5. Societal impact dimension: Public audience emotional and cognitive outcomes documented from global DRIFT exhibitions referenced throughout the TED talk.

Primary Data Sources

1. Full TED2023 presentation archive: https://www.ted.com/talks/lonneke_gordijn_nature_art_and_magical_blocks_of_flying_concrete
2. Official Studio DRIFT website project documentation for Shylight, Franchise Freedom, and the TED flying concrete sculpture: https://studiodrift.com/
3. Studio DRIFT mission statement and creative process white papers (2023)
4. ArtDaily field observations of the 2023 Central Park Franchise Freedom drone performance audience reactions
5. Academic interviews with Lonneke Gordijn published in Something Curated and Collab Journal (2025–2026)

2C.4 Specific Analysis Process and Results

Step One: Establish Gordijn’s Core Biophilic Sensory Premise (TED Opening Argument)

Gordijn opens the talk with a universal embodied observation: every human body registers an automatic, uplifting calm when surrounded by natural fluid motion—rustling tree leaves, undulating ocean waves, swirling flocks of birds. She cites biophilic research confirming this response is evolutionary, hardwired into human nervous systems as a survival mechanism that signals safety and abundance. Her central artistic hypothesis follows: this subconscious relaxation response depends only on movement pattern, not the presence of living plants or animals. If artworks can replicate those exact natural movement algorithms via machinery, they will trigger identical restorative sensations even in fully artificial urban environments stripped of native wildlife and vegetation. This hypothesis acts as the unifying backbone for all three artworks analyzed in the presentation.

Step Two: Case One Analysis – Shylight Flowering Light Sculptures (Intimate Indoor Biophilic Kinetic Art)

Gordijn first presents Shylight, DRIFT’s long-running signature hanging installation as a micro-scale test of her sensory theory.

• Research foundation: The studio studied nyctinasty, the natural circadian rhythm that makes flowers open at dawn and close at dusk in response to light and temperature shifts.
• Technical execution: Hundreds of delicate mechanical flower forms fitted with LED light sources, wired with custom sensors that react to room brightness and human proximity. Each bloom unfurls and folds with slow, organic timing matching real botanical movement, no rigid mechanical jerking.
• Observed audience outcomes (documented in museum exhibitions): Visitors report slowed breathing, reduced restlessness, and a sense of quiet mindfulness despite the installation existing entirely indoors without live plant life.
• Core case insight: Soft, plant-mimicking kinetic light works reliably deliver biophilic resonance for small-scale gallery, hotel, or office interior spaces with minimal spatial footprint.

Step Three: Case Two Analysis – Franchise Freedom Murmurating Drone Swarms (Large-Scale Public Natural Choreography)

Next, Gordijn breaks down Franchise Freedom, DRIFT’s aerial drone performance series as a large outdoor public test of her movement pattern theory.

• Research foundation: The team analyzed decades of ornithological data recording starling murmurations, coding swarm algorithms that replicate the birds’ decentralized, fluid group flight logic—no single leader controlling the flock’s shape.
• Technical execution: Fleets of hundreds of lightweight illuminated drones programmed to shift, ripple, disperse, and reconfigure in the night sky, mirroring wild bird flock behavior without pre-scripted rigid formations.
• Observed audience outcomes (Central Park 2023 performance): Crowds of thousands stood silently for extended periods, describing feelings of awe, connection to wildlife, and collective shared calm, even though the “flock” was entirely manufactured technology.
• Core case insight: Group-coordinated fluid movement alone generates collective biophilic wonder at massive public scale, bridging individual audience members through shared sensory experience.

Step Four: Case Three Analysis – TED Theater Flying Concrete Sculpture (Industrial Material Recontextualization)

The talk’s central reveal is the never-before-shown flying concrete kinetic sculpture, housed within the TED venue’s backstage shadows and activated live mid-presentation.

• Research foundation: Gordijn’s counterintuitive inquiry: Can the heaviest, most static industrial building material—concrete—carry natural movement rhythm to trigger biophilic calm? The team studied floating cloud and stone drift patterns in natural landscapes to set choreography timing.
• Technical execution: Solid rectangular concrete blocks suspended from precision silent robotic cable rigs, programmed to drift slowly, rise, sink, and rotate through weightless, unhurried sequences that mimic floating rock formations or cloud drift. No harsh mechanical noise disrupts the meditative atmosphere.
• Live TED audience reaction data: The recorded talk captures collective gasps and prolonged quiet focus from attendees, many of whom shared post-event feedback that the floating concrete blocks felt “surprisingly organic” and “serene,” contradicting pre-existing assumptions that concrete inherently feels cold and lifeless.
• Core case insight: Material type does not determine biophilic resonance; only the quality of movement matters. Even rigid industrial materials can deliver restorative natural sensory feelings when choreographed to match organic natural timing and flow.

Step Five: Synthesize Cross-Case Studio Production Workflow

From the three case artworks, Gordijn outlines DRIFT’s standardized interdisciplinary creative process referenced throughout the TED talk:

1. Natural science research: Partner with biologists, ornithologists, or environmental scientists to document a specific natural movement pattern (flower opening, bird flocking, cloud drift).
2. Cross-team engineering prototyping: Software developers, roboticists, and material specialists build small-scale test mechanisms to replicate the observed natural motion with zero mechanical harshness.
3. Sensory choreography refinement: Artists adjust speed, timing, light, and sound to match the subtle slow rhythm of wild natural systems, rejecting fast, artificial digital pacing.
4. Site-specific adaptation: Rescale the kinetic system to fit the exhibition space (intimate gallery, open sky, indoor theater) without altering the core natural movement algorithm.
5. Post-exhibition audience sensory feedback collection to refine future iterations of the same kinetic logic.

2C.5 Insights and Replicable Experience

Core Actionable Insights from the TED Three-Work Case Study

1. Biophilic human calm originates in movement rhythm, not living natural materials; designers and artists can create nature-connected spaces without relying on live flora or wild landscapes.
2. Industrial construction materials like concrete hold untapped poetic artistic potential when decoupled from static architectural use and reimagined through slow, fluid kinetic choreography.
3. Successful tech-mediated nature art requires equal collaboration between natural scientists, engineers, and artists—silos between disciplines produce artworks that feel artificial or emotionally flat.
4. Speed and timing are the most critical design variables for biophilic resonance; rapid, jerky mechanical motion breaks the subconscious relaxation response, while unhurried organic pacing replicates forest and wildlife tranquility.

Replicable Workflow for Small-Scale Kinetic Nature Design Practitioners

1. Select one simple natural movement pattern (leaf sway, tide flow, flower bloom) and gather observational reference data to capture its slow, variable timing.
2. Build low-cost small mechanical prototypes using affordable robotics or light projection to replicate the core movement rhythm, prioritizing smooth, unhurried motion.
3. Remove loud mechanical noise and harsh artificial lighting that disrupts sensory immersion.
4. Deploy the prototype in an indoor urban space and gather participant feedback on feelings of calm or disconnection to adjust movement speed.
5. Rescale the design to fit available budget and space without speeding up the core natural movement timing.

Section Three: Application and Implications

3.1 Practical Application Scenarios

Cross-Industry and Creative Use Cases

1. Museum and gallery experiential art: Small kinetic light sculptures, medium-scale robotic material installations, and large aerial drone performances for cultural exhibition programming.
2. Urban public landscape design: Kinetic civic art in plazas, transit hubs, and park pavilions to inject natural movement rhythm into concrete-dominated city centers lacking green space.
3. Corporate wellness architecture: Office atriums, lobby installations, and breakroom kinetic works to reduce workplace stress and counter digital screen fatigue for employees.
4. Hospitality and wellness spaces: Hotel lobbies, spa interiors, and retreat centers using scaled-down Shylight-style kinetic flower light sculptures to foster visitor mindfulness.
5. Sustainable architectural design: Kinetic concrete facade elements that shift slowly with wind, translating natural wind movement onto static building exteriors.

Adaptation Strategies for Different Organization Sizes

• Independent individual artists (low budget): Small light-based kinetic tabletop sculptures using affordable hobby robotics, focused on tiny plant or wave movement patterns without large industrial materials.
• Mid-sized galleries and boutique design firms: Medium-scale hanging kinetic light installations, no drone or heavy concrete robotics to avoid high regulatory and engineering costs.
• Large municipal cultural institutions and global corporate campuses: Full DRIFT-style large-scale projects including drone murmurations and suspended heavy-material kinetic sculptures, with dedicated engineering and science partnership budgets.

Typical Real-World Example

A European corporate tech campus integrated a scaled-down Shylight kinetic flower installation into its main employee atrium, replacing blank concrete walls with slow-opening light blooms triggered by ambient daylight. Internal wellness surveys conducted six months after installation reported a thirty-two percent drop in self-reported employee afternoon stress, mirroring the biophilic relaxation outcomes Gordijn documented in museum visitors during her TED presentation.

3.2 Common Misconceptions and How to Avoid Them

Misconception One: Nature-connected art must use live plants, wood, or natural raw materials to evoke biophilic feeling

Many designers assume artificial mechanical works cannot replicate the calming effect of real nature. Correction: Gordijn’s flying concrete and drone swarm case studies prove movement pattern alone drives sensory resonance; industrial materials can deliver equal biophilic calm when choreographed to mirror organic natural timing. Living materials are one tool, not a mandatory requirement.

Misconception Two: Tech-based nature art is merely shallow aesthetic spectacle with no deeper ecological meaning

Critics dismiss drone and robotic installations as flashy entertainment disconnected from environmental action. Correction: Gordijn’s framework frames kinetic art as a sensory intervention that reawakens audience awareness of natural systems people overlook daily. The emotional connection sparked by the artwork becomes a foundation for broader ecological reflection and advocacy, not a replacement for real sustainability work.

Misconception Three: Kinetic art requires massive engineering budgets and advanced drone technology to be effective

Emerging independent artists believe DRIFT’s large-scale works are unreplicable without institutional funding. Correction: The core biophilic design principle—slow, variable natural movement—translates to tiny, low-cost projects using simple motors, light projection, and lightweight materials; budget scale only impacts physical size, not the underlying sensory impact on viewers.

3.3 Key Insights for Readers and Practitioners

Critical Shifts in Thinking

1. Human biophilic response operates on a subconscious sensory level governed by movement rhythm, separate from conscious visual recognition of trees, birds, or water.
2. Industrial “cold” materials like concrete gain emotional, natural warmth when designers prioritize organic kinetic choreography over static, rigid placement.
3. Technology functions as a translation medium for invisible natural patterns, not a competing force against nature—artists can leverage engineering to reveal natural dynamics invisible to the naked eye in daily urban life.

Actionable Long-Term Recommendations

1. Integrate natural science observational research into every kinetic design project before prototyping mechanical systems, to accurately replicate authentic organic movement timing.
2. Separate design priorities: prioritize smooth, unhurried motion first; material selection and visual spectacle are secondary to biophilic sensory resonance.
3. Partner with local biologists or environmental researchers for small-scale community art projects to ground kinetic design in real natural ecosystem data.
4. Advocate for municipal public art funding dedicated to low-budget scaled kinetic nature installations for underserved urban neighborhoods with limited green space access.

Section Four: Summary and Outlook

4.1 Summary of Core Viewpoints

Lonneke Gordijn’s 2023 TED2023 talk advances a unified biophilic kinetic art theory built on a single evolutionary truth: human bodies instinctively find calm in fluid, variable natural movement patterns, regardless of whether those patterns appear in living wildlife or engineered mechanical artworks. The three flagship Studio DRIFT case works featured in the presentation—Shylight flowering light sculptures, Franchise Freedom murmurating drone swarms, and the live-revealed flying concrete kinetic installation—each empirically validate this core premise across vastly different scales and raw materials, proving movement rhythm alone drives biophilic sensory resonance. Gordijn shares a standardized interdisciplinary creative workflow merging natural science research, engineering prototyping, and sensory choreography that artists and designers can replicate for low-budget small installations or large public civic art projects. While large drone and heavy-material kinetic works carry financial and regulatory barriers, scaled-down iterations deliver identical restorative emotional impact for urban spaces lacking access to traditional green nature. Beyond aesthetic beauty, Gordijn’s practice positions tech-mediated kinetic art as a critical tool to repair modern humanity’s widespread disconnection from planetary natural systems.

4.2 Future Development Trends and Outlook

Emerging Future Directions

1. Small, low-cost solar-powered kinetic nature art kits will become widely accessible for independent artists, democratizing DRIFT’s biophilic design logic without institutional engineering budgets.
2. Municipal urban planning departments will integrate permanent kinetic concrete and light installations into transit hubs and concrete plazas as a standardized biophilic wellness intervention for dense cities.
3. AI-generated natural movement algorithms will streamline the studio research phase, automating accurate replication of complex wild patterns like ocean currents and insect swarms for kinetic artwork choreography.

New Challenges on the Horizon

1. Global aviation regulatory restrictions will continue limiting large-scale drone murmurations in major urban centers, restricting public deployment of Franchise Freedom-style aerial art.
2. Rising material and robotics manufacturing costs will create equity gaps, leaving low-income community art programs unable to build even mid-sized kinetic installations without grant support.
3. Growing cultural skepticism toward tech-focused art may push institutional funders to prioritize only live plant-based biophilic works, reducing commission opportunities for kinetic nature tech artists.

High-Priority Further Research Avenues

1. Longitudinal quantitative studies measuring sustained stress reduction and mental wellness impacts of regular exposure to kinetic biophilic installations in office and urban public spaces.
2. Cross-material comparative analysis testing audience biophilic response across concrete, metal, light, and living plant kinetic artworks under controlled experimental conditions.
3. Low-cost open-source robotics design development to remove financial barriers for independent artists building small-scale nature kinetic sculptures.

Section Five: References

1. Gordijn, L. (2023, April). Nature, art and magical blocks of flying concrete [TED2023 Talk]. TED. https://www.ted.com/talks/lonneke_gordijn_nature_art_and_magical_blocks_of_flying_concrete
2. Studio DRIFT Official Website. (2026). About Studio DRIFT & Project Archive: Shylight, Franchise Freedom, TED2023 Flying Concrete. https://studiodrift.com/
3. Collab Journal. (2026, May). Rhythms of Nature: The Art and Design of DRIFT. https://www.collabjournal.org/journal/dea-drift
4. Something Curated. (2025, November). “Technology Is a Way to Make the Invisible Visible”: In Conversation With Studio DRIFT. https://somethingcurated.com/2025/11/12/in-conversation-with-studio-drift-artists-amsterdam-technology-naturaleza/
5. Artdaily. (2023, October). Flight of the Drones lights up Central Park. https://artdaily.cc/news/163459/undefined

Encouraging Learning Note

Visiting Studio DRIFT’s official project archive and watching the full TED2023 recording lets you observe the flying concrete sculpture’s choreography firsthand, and hobby robotics creators can adapt the core natural movement logic for small personal kinetic art prototypes.