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Here, the term "kinetic" is coded as a historical and formal experimentation with an industrial machine aesthetic in art, one that began as early as Naum Gabo's Kinetic Construction: Standing Wave and Laaszlo Moholy-Nagy's Light Space Modulator (1922-1930), and reached a climax in popularity in Europe and the United States in the 1960s.3 Kineticism is not, however, often nostalgically remembered as a trend "rooted in another age."4
Among the modern avant-garde works there was a concentration on early modern Constructivist, Dadaist, and Futurist artists, which included key art historical works from the early twentieth century that represented the machine aesthetic within modern art and modern mechanical movement.
These contemporary gestures play to Christov-Bakargiev's cyclical approach to time, which is in constant progression, and the effects of the modern machine aesthetic continue to be effective media for expressing time rhythms.
For instance, Horn and Eliasson's work are situated as extensions of the modern machine aesthetic presented by early European avant-garde artists.
But the Futurist involvement in the cult of the machine should not be confused with the "machine aesthetic" of the post-War period or what Berghaus calls Material�sthetik, aesthetics of the material.
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