Wiener's work suggested to Schöffer an artistic process in terms of the circular causality of feedback loops that he used in a wide range of art genres.

He liberated art genres from their spatial and temporal constraints by creating never-ending sound structures that can be heard all over the cybernetic city of the future, and by designing SCAM1, an automobile sculpture.

The playful and spectacular aspects of his works served the goal of gaining the attention of the audience and involving the viewer through participation in the creative processes.

The main attraction of the international exhibition, the palace of discoveries in the west wing of the Grand Palais aroused Schöffer's interest in scientific research and technical innovations.

Art historians distinguish three stages of the second creative period that are related to the theories Schöffer elaborated during these time spans.

The third main creative period is marked by his return to two-dimensional works due to his incurable illness which impeded his free movement.

He concentrated on the negative space between the vertical and horizontal steel parts of the structure that was holding permanently fixed rectangular and circular plates.

In these works, the play of movement and coloured lights provided an attraction that gave a completely original effect even when filmed.

Various discs, hemispherical shells and plates made of stainless steel are set in motion inside the box by a programmed motor.

Schöffer began to plan several series of cybernetic sculptures and Hydro-Thermo-Chronos Fountains to socialize art and enhance the aesthetic quality of the surroundings in the city.

These fountains would have used water, fire and lasers to evoke a spectacle on a monumental scale that would have been accompanied by strong sound effects.

The purpose of the works called Les Percussonor (1984–85) was to relieve mental tension caused by stress as a consequence of urban life.

The name CYSP1 refers to the cybernetic and spatiodynamic features of the sculpture that had total autonomy of movement (travel in all directions at two speeds) as well as axial and eccentric rotation setting in motion its 16 pivoting poly-chromed plates.

SCAM1 was liberated of every confinement and could travel around the city at notable speed because the 3.93 m high sculpture was mounted on a custom-made automobile financed by the gallery owner Denise René and produced by the Renault Company.

The first spatiodynamic, cybernetic and acoustic tower was built in 1954 for the International Exhibition of Public Works in the Parc de Saint Cloud near Paris and reached a height of 50 m. The sound structure was composed by Pierre Henry.

Since the spiral of galaxies can be deduced from the golden section, the basic principle of the structure, Schöffer regarded these towers as the symbol of the Universe.

He planned restaurants, signalling systems, television stations, concert halls with an organ, a post office, a drugstore and other shops on the platforms.

The founding members were Nicolas Schöffer, Ionel Schein, Yona Friedman, Paul Maymont, Georges Patrix, Michel Ragon and later the Swiss Walter Jonas also joined the group.

The group's manifesto summed up the factors why previous forms of housing and urban structures could not meet the needs of modern life and implied the need for future-oriented planning.

In sharp contrast to a traditional brothel like Claude-Nicolas Ledoux's Oikema, it was a building dedicated to free love on equal terms.

The most extreme example of a building with controlled climatic zones designed by Schöffer was shown in 1957 at the BATIMAT international public works salon in Saint-Cloud near Paris.

The aim of the international exhibitions of the construction industry was to present forms of living that could better fit modern lifestyles than the typical old building with small, differentiated rooms.

An example was the Paco Rabanne space age fashion show titled Light and Movement that took place with a stage set designed by Schöffer in 1967 in the museum of modern art in Paris.

The old buildings were demolished and rebuilt to create a new museum which meets contemporary international standards, and now plays a major role in art education.

The first book entitled Le Spatiodynamisme[B 1] appeared in 1955 and contains the text of the lecture given by Schöffer in June 1954 in the Turgot amphitheater of the Sorbonne University at the conferences organized by the French society of aesthetics.

The book Le nouvel esprit artistique[B 4] contains texts and manifestos in which Schöffer explains the principles of his mature theories of spatiodynamics, luminodynamics and chronodynamics and deals with the role and task of art in our knowledge society.

The book titled La Théorie des miroirs[B 7] analyzes and develops the phenomenon of inversion in all its aspects from image to thought through language.

In Surface et Espace,[B 8] the last book published during his lifetime, Schöffer returns to the principles of his work and artistic creation with a dense text illustrated with drawings and colour plates, some of which were produced using the computer.

[T 3] Orsolya Hangyel and Eszter Tamás analyze the Hungarian roots of the kinetic artistic movement including Schöffer's contribution.

Three-dimensional digital reproduction of Schöffer's lost, or planned but never realized, works was the main concern of Ördög Anna Noémi aka Naomi Devil.