According to Deluze philosophy, science and art are the tree broad domains of thinking: thinking in concepts, thinking in functions and thinking in percepts and affects. They are all related with each other whereas they are all against the chaos in their own ways. In Deluze words;
“Art want to create the finite that restores the infinite: it lays out a plane of composition that, in turn, through the action of aesthetic figures, bears monuments of composite sensations.” (Gilles Deluze and Felix Guattari, What is Philosophy? thans. Graham Burchell and Hugh Tomlinson (London:Verso, 1994), 197.)
“Art does not reproduce the visible; rather, it makes visible.” – Paul Klee (1879–1940), Swiss painter, The Inward Vision (1959)
By revelation of the dimensions of the space, internet is an pure art itself.
“The merging of cybernetics and art must be understood in the context of ongoing aesthetic experiments with duration, movement, and process.” says Roy Ascott in his book called Telematic Embrace.
According to his text; French impressionists interest in durational and perceptual limits of art in novel ways. The cubists also inspired by the theory of Henri Bergson; duree. Again also significant names for the Italian futurist painting and sculpture, like Giacomo Balla and Umberto Boccini stimulated by Bergsonian idea of the spatio-temporal dimensions of consciousness.
However their work remained static despite indication of movement.
Marcel Duchamp’s Bicycle Wheel (1913)(considered as a first kinetic art) and Precision Optics (1920), Naum Gabo’s Kinetic Construction (1920), and László Moholy-Nagy’s Light-Space Modulator (1923–30) were the creditable early twentieth-century sculpture experimented with putting visual form into actual motion.
“Gabo’s work in particular, which produced a virtual volume only when activated, made motion an intrinsic quality of the art object, further emphasizing temporality. In Moholy-Nagy’s kinetic work, light bounced oª the gyrating object and reflected onto the floor and walls, not only pushing the temporal dimensions of sculpture, but expanding its spatial dimensions into the entire environment.” (pg22-23)