, , 1970.
, Nevertheless, avant garde art during the past ten years has, in part, rejected inert objects for the 'living' presence of artists, and by that I am referring to Conceptual Art, Performance Art, and Video Art, p.213, 1980.
, This intellectual world also included at the time some other leading figures as, for
, Probably derived, with some slight modifications, as cited by Pontus Hultén in, p.13, 1967.
, particular, 1970.
, Theory and Design in the First Machine Age, Match Abandoned. Art News and Review, p.7, 1954.
, Preface to the First Paperback Edition, p.10, 1980.
, Beyond Modern Sculpture: The Effects of Science and Technology on the Sculpture of This Century, 1968.
, Systems Aesthetics. Artforum, vol.7, pp.30-35, 1968.
, Software: Information Technology: Its New Meaning for Art, 1970.
, Art and Technology: The Panacea That Failed, The Myths of Information, 1980.
, Digressions sur les machines: Ingénieurs, bricoleurs et poètes, L'Art et la Machine. Lyon: Lienart éditions, p.46, 2015.
, Towards an Art of Environment, Exhibitions and Publications by a Group of Avant-Garde Abstract Artists in London 1951-55, The Burlington Magazine, vol.132, pp.773-81, 1990.
, Constructed Abstract Art in England after the Second World War. A Neglected Avant-Garde, p.27, 2005.
, Die Neue Architektur und das Bauhaus (The New Architecture and the Bauhaus), p.75, 1925.
, New York: Museum of Modern Art. Leroi-Gourhan, André. 1983. Le fil du temps, L'illusion Technologique, p.127, 1968.
, The Plastic Parthenon, 1967.
, The Future of the Future, 1969.
, The Ecological Context, 1970.
, From Méta-Matic to 'Métamatic Reloaded, Métamatic Reloaded, p.25, 2013.
, I am the Dream Machine'. Les écrans hypnogènes de Nicolas Schöffer. Les Cahiers du Musée National d'Art Moderne, vol.53, 2014.
URL : https://hal.archives-ouvertes.fr/halshs-01350699
, Esthétique des Systèmes. Dijon: Les Presses du Réel, p.12