(Kalocsa, Hungary, 1912 -  Paris, France, 1992) 

Nicolas Schöffer pioneered a groundbreaking synthesis of art, science, and technology that redefined the possibilities of artistic creation in the 20th century. Renowned for his visionary cybernetic sculptures and immersive environments, his work foregrounded the dynamic interplay between movement, light, and interactivity.

In the postwar period, Schöffer emerged as a central figure in kinetic and cybernetic art, formulating a radical new aesthetic based on systems theory and real-time responsiveness. His collaboration with engineers, architects, and musicians resulted in works that blurred disciplinary boundaries, anticipating the digital and multimedia art forms of today.

Schöffer’s iconic CYSP 1 (1956)—the first autonomous cybernetic sculpture—responded to sound, light, and movement through sensors and motors, establishing a feedback loop between viewer and artwork. These explorations reflected his belief that art should not only reflect but actively shape its environment, turning perception into participation.

Beyond sculpture, Schöffer envisioned a total integration of art into urban life. His proposals for cybernetic cities, light towers, and spatial orchestras imagined technology as a tool for enhancing human experience, social harmony, and spatial intelligence. For Schöffer, the artist was a “homo cyberneticus,” orchestrating a new harmony between man and machine.

He lived and worked in Paris, France, until his death in 1992. His visionary legacy continues to resonate across contemporary art, design, and media theory, challenging us to reconsider the role of technology in shaping aesthetic and social realities.