By R. Otten, L. van Glnneken
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1945). As We May Think. Atlantic Monthly, 176(1), 101–108. Calabrese, O. (1985). Il luogo dell’Arte. Milano, Italy: Bompiani. Cherchi, P. (1978). Paul Klee teorico. Bari, Italy: De Donato. Coates, G. (1992). A virtual show. A multimedia performance work. San Francisco. , & Hillaire, N. (1991). L’Art Numerique. Paris: Ed. Flammarion. Davies, C. (2001). Multimedia: from Wagner to Virtual Reality (pp. 293–300). W. Norton & Company. REFERENCES Davies, C. (2001). com. Artsmachine Media Lab. (2010).
In the Bauhaus artistic movement, we find correspondence with these topics, in the theories of Laszlo Moholy-Nagy expressed in “Theater der Totalität” and those of Walter Gropius in his article “Totaltheater” of 1927. Moholy-Nagy wrote: ment has been added to plastic figures. Calder accomplished that in his creations which reached a dynamic equilibrium between their weight and levity. The equilibrium is the most important quality of his abstract sculptures: equilibrium are balances of statics and dynamics; statics in “mobiles” and dynamics in “stabiles” (AAVV; 2004).
1990). Art et Ordinateur. Paris: Ed. Blusson. Mounin, C. (1968). Introduction a la semiologie. Paris: Minuit. Mura, G. (2007). The Metaplastic Virtual Space. In Wyeld, T. , & Docherty, M. ), Virtual Systems and Multimedia (pp. 166–178). Berlin, Germany: Springer. Krueger, M. (1991). Artificial Reality II. London: Addison Wesley. Mura, G. (2008). The meta-plastic cyberspace: A network of semantic virtual worlds. In ICIWI 2008 WWW/Internet International Conference, Freiburg, IADIS. Kunii, T. L. (2005).
