In version 2.0 of the Magnetic Pendulum Chinese Writing Robot, artist Hung Keung and Dr Andreas Schiffler decided to optimise the locations of the five round magnets on the table to better reflect the structure of Chinese characters. They decided to place the magnets in a way to set the boundary of the magnetic field inside the scope of the character ‘永’ ([yong] English: perpetual). The movements of the brush were kept within the boundary of this character by magnetic dynamics. The magnetic field within the character was then altered by controlling the strength of brush movements and magnetic force, so that the final writing movements become relatively controllable and recognisable. The next improvement involved the interface between the top end of the brush and where it connected with the writing robot. By adding a magnet, the brush was automatically connected to the solid iron ball in the writing robot. Such a mechanism allowed the movements of the brush to be more flexible. Version 2.0 set the writing parameters with the rules of writing the character ‘永’ , which symbolises the imposition of human rules (calligraphy) onto the rules of the universe (magnetic forces). The writing robot also evolved from ‘calligraphy of the universe’ (version 1.0) to ‘calligraphy of mankind’ (version 2.0). While putting things into practice, the research team realised that if the brush only had one axis, when it was moving, while it was able to connect with the magnets placed under the rice paper, the contact points were uneven when the tip travelled different distances on the paper. The tip had the heaviest touch when it was closest to the center of the appear,  and less and less contact as it travelled away from the center. The final product, therefore, failed to resemble the flexible nature of handwriting. For example, calligraphy in the Tang Dynasty focused on sinking the wrist to ensure smooth and balanced strokes. Horizontal movements of the wrist required techniques of transferring the weight from left to right, and right to left. The key to holding a brush is firmness on the stem, which allows the strength of the wrist to reach the tip of the brush, so that the manoeuvres are flexible and proficient. During the act of writing, the wrist must be parallel to the table, so that it is easier to turn the wrist and change the direction of the brush. The stem of the brush should be vertical to ensure one is using the center part of the tip. One can also use the shoulder as the pivot and write while lifting the wrist and elbow away from the table. This writing method allows the arm to enjoy the greatest range of movement and level of flexibility, and is most suitable for writing large characters. Three steps are involved in the act of writing: beginning, wielding and finishing. All three steps involve movements of the arm, holding the brush vertically, lifting the wrist and elbow or pressing them down, and moving freely according to one’s will in all directions. The next step, therefore, is to allow the calligrapher/ participant to move freely and experience the rhythms involved in the three steps of beginning, wielding and finishing.