the moving or kinetic art that always existed. Max Bill Max Bill became an almost complete disciple of the kinetic movement in the 1930s. He believed that kinetic art should be executed from a purely mathematical perspective. To him, using mathematics principles and understandings were one of the few ways that you could create objective movement. This theory applied to every artwork he created and how he created it. Bronze, marble, copper, and brass were four of the materials he used in his sculptures. He also enjoyed tricking the viewer's eye when he or she first approached one of his sculptures. In his Construction with Suspended Cube (1935-1936) he created a mobile sculpture that generally appears to have perfect symmetry, but once the viewer glances at it from a different angle, there are aspects of asymmetry. Mobiles and sculpture Max Bill's sculptures were only the beginning of the style of movement that kinetic explored. Tatlin, Rodchenko, and Calder especially took the stationary sculptures of the early 20th century and gave them the slightest freedom of motion. These three artists began with testing unpredictable movement, and from there tried to control the movement of their figures with technological enhancements. The term "mobile" comes from the ability to modify how gravity and other atmospheric conditions affect the artist's work. Although there is very little distinction between the styles of mobiles in kinetic art, there is one distinction that can be made. Mobiles are no longer considered mobiles when the spectator has control over their movement. This is one of the features of virtual movement. When the piece only moves under certain circumstances that are not natural, or when the spectator controls the movement even slightly, the figure operates under virtual movement. Kinetic art principles have also influenced mosaic art. For instance, kinetic-influenced mosaic pieces often use clear distinctions between bright and dark tiles, with three-dimensional shape, to create apparent shadows and movement. Vladimir Tatlin Russian artist and founder-member of the Russian Constructivism movement Vladimir Tatlin is considered by many artists and art historians to be the first person to ever complete a mobile sculpture. The term mobile wasn't coined until Rodchenko's time, but is very applicable to Tatlin's work. His mobile is a series of suspended reliefs that only need a wall or a pedestal, and it would forever stay suspended. This early mobile, Contre-Reliefs Libérés Dans L'espace (1915) is judged as