Professional Documents
Culture Documents
ps - 8/30/2007 11:46 AM
H I S T O R I C A L P E R S P E C T I V E
Computer Graphic--Aesthetic
Experiments between Two Cultures
Christoph Kltsch
T
he author presents a summary
of his research on the Stuttgart
thesis and that of the new information aesthetics. During the 1960s, information School and information aesthet-
Max Bense developed information aesthetics between aesthetics led to the formation of ics as developed by Max Bense
1954 and 1965. He used Hegel as a starting point, seeing art the Stuttgart school, which had in the 1950s and 1960s.
Three artists, Frieder Nake,
as both a historical and an epistemic process. Bense defined Bense at its intellectual center. The Georg Nees and Manfred Mohr,
the aesthetic object as a material carrier connected to co- statistical analysis of style, especially adopted the use of information
materiality (Mitrealitt), thus understanding the object as a in literature, was not new [4]. In aesthetics in computer graph-
sign. In the early phase of his thought, he relied upon Charles Stuttgart a generation of young sci- ics. The author investigates
the relation between artistic
Morriss sign theory, shifting in the 1960s to Pierceian sign the- entists examined different aspects
practice and aesthetic theory.
ory. By understanding aesthetic objects as signs, Bense framed of the mathematical value of infor-
them within Shannons purely technical communication the- mation contained in aesthetic ob-
ory, which he attempted to adapt to human communication. jects. Rul Gunzenhuser applied
As a link between the two notions of communication, he in- Shannons information theory to Birkoffs concept of aesthetic
terposed Norbert Wieners cybernetics, which he understood measurement, developing a theory of micro-aesthetics [5].
as a model for the process of art production, consumption and Helmar Frank focused on the perceptual aspects of aesthetics.
criticism. Within this theoretical frame, Bense aimed to cre- He wrote his Ph.D. under Abraham Moles in Paris before com-
ate a rational aesthetics, freed from subjective speculation and ing to Stuttgart [6]. Georg Nees wrote his Ph.D. dissertation
grounded upon a scientific base [1]. Generative computergrafik under Bense in 1968, applying
As a cornerstone for a scientific aesthetics, Bense adopted his aesthetic explicitly to computer art [7]. Frieder Nake,
David Birkhoffs method for measurement of aesthetics. In inspired by Benses lectures, proved the possibilities of a gen-
the early 1930s, Birkhoff presented a simple formula to meas- erative aesthetic with generative aesthetics I (1969). In 1971,
ure the aesthetic value of art: M = O/C, where the aesthetic Siegfried Maser published his doctoral thesis, which presented
measurement M is defined by the ratio of order O to com- a rigorous formalization of Benses generative aesthetics [8].
plexity C [2]. At a time when other structuralistic approaches In 1974, Nake published a book on aesthetics as information
were emerging, Bense combined Shannons theory and analy- processing, which connected aesthetic theory with formal com-
sis of the English language, Birkhoffs mathematical analysis puter graphics and the history of computer art [9].
of aesthetic measurements and Chomskys generative gram-
mar into a theory that allowed for the analysis of art objects
on a micro-aesthetic level by investigating the used sign reper-
A MANIFESTO FOR COMPUTER ART
toire in artworks. Having a repertoire and rules for combin- The key event in the development of computer graphics was
ing its elements, Bense now had the tools to build a model for a 1965 exhibition at the Studien Galerie Stuttgart (see Table
the macro-aesthetic values of aesthetic objects. 1) [10]. Bense invited Georg Nees to exhibit his works, to the
The final aspect of Benses aesthetic theory is the notion of dismay and fury of the public. Bense defended the exhibit by
negentropy. Bense saw in art a process going in the direction stating that it was only artificial art, which on first glance
opposite that of the physical process. While the physical world looks like an excuse, but referred implicitly to artificial intel-
moves toward chaos, the world of art moves toward order. Both ligence. This comparison, in combination with his manifesto
process and order are key terms in Benses aesthetic, delivering on generative aesthetics [11] and Benses reference to the
the ontological basis for his scientific approach. Meanwhile, implications of Chomskys concepts, superseded the aesthetic
in France, his friend and colleague Abraham Moles was work- theories of his time. By 1965 Bense had transformed the purely
ing on an information aesthetic intended to explain the struc- descriptive approach of information aesthetics into a genera-
tive aesthetic:
Christoph Kltsch (educator, researcher), Savannah College of Art and Design, Generative aesthetics therefore implies a combination of all op-
Savannah, GA 31402, U.S.A. E-mail: <c.kluetsch@computerkunst.org>. erations, rules and theorems which can be used deliberately to
This article is based on Christoph Kltschs doctoral thesis; the abstract for the
produce aesthetic states (both distributions and configurations)
thesis received the highest ranking by the Leonardo Abstracts Service (LABS). Those when applied to a set of material elements. Hence generative aes-
wishing to submit abstracts to LABS can find thesis abstract submission forms at thetics is analogous to generative grammar, in so far as it helps
<leonardolabs.pomona.edu> (for English-language abstracts) and <www.uoc.edu/ to formulate the principles of grammatical schema-realization of
artnodes/leonardolabs> (for Spanish).
an aesthetic structure [12].
2007 ISAST LEONARDO, Vol. 40, No. 5, pp. 421425, 2007 421
01-leo40-5.klutsch.ps - 8/30/2007 11:46 AM
Fig. 1. Frieder Nake, Klee. 13/9/1965 Nr. 2, 40 40 cm, 1965. Fig. 2. Frieder Nake, Zuflliger Polygonzug (random polygon line)
( Frieder Nake) 13/9/65 Nr. 3, 40 40 cm, 1965. ( Frieder Nake)
Helmar Frank, Gotthard Gnther, Rul he proposed a short article on aesthetic on this topic [22]. Neess goal in this book
Gunzenhuser, Abraham Moles, Peter restlessness, with reference to Benses can be described as a practical proof of
Mller, Felix von Cube and Elisabeth aesthetica III. Frank quickly introduced Benses aesthetic (Fig. 3). The computer
Walther [21]. Frank, Gunzenhuser and Nees to Bense, and four months later the served Nees as an aesthetic laboratory to
von Cube were doctorial students of Stuttgart exhibition was launched. Soon test Benses theories. Nees described the
Benses. Gnther was working in Illinois Nees decided to write his Ph.D. thesis programs he used in great detail, set out
with Heinz von Frster. Nees, who was with Bense as supervisor. The thesis, the aesthetic goal he had in mind, and
then working at Siemens in Erlangen, Generative Computergraphik, was pub- used numerous graphics as proofs. His
read this journal regularly. In his letter, lished in 1969 and was probably the first most well-known graphic from this pe-
Fig. 3. Georg Nees, 8-Ecke (polygons of 8 vertices), 1964. Fig. 4. Georg Nees, Schotter (Gravel Stone),
( Georg Nees) before 1968. ( Georg Nees)
References
1. M. Bense, Aesthetica (Baden-Baden, West Germany:
Agis-Verlag, 1965).
which 22 rows with 12 squares are trans- reflected his own personal style. A good 6. H. Frank, Grundlagenprobleme der Informationss-
formed from a state of perfect order into example is Formal Language II, shown in thetik und erste Anwendung auf die Mime Pure (Quick-
born, West Germany: Schnelle, 1968 [1959]).
a chaotic pattern, illustrating the funda- Fig. 5. The comparison of a detail from
mental principle of negentropy. Formal Language II with the classical 7. G. Nees, Generative Computergraphik (Berlin: Sie-
mens AG, 1969).
Manfred Mohr had his first exhibition painting 16/469 from Mohrs subjective
of computer graphics in Paris [23]. Mohr geometrical phase (Fig. 6) shows how 8. S. Maser, Numerische sthetik: Neue Mathematische
Verfahren zur Quantitativen Beschreibung und Bewertung
entered the computer-graphic world with Mohr used his own repertoire as a basis sthetischer Zustnde (Stuttgart, West Germany:
a classical arts background. Born in 1938 for his generative art. Krmer, 1971).
near Stuttgart, he first learned to become
a goldsmith, but focused more on play-
ing the saxophone and oboe. In 1960 he
started painting in the tradition of the In- Fig. 6. Manfred Mohr, 16/469, tempera/canvas, 130 162 cm, 1969.
( Manfred Mohr) Collection Branco Weiss, Zrichsubjektive Geometrie.
formell. He moved to Paris in 1963 and
visited the Ecole des Beaux Arts. The new
impressions gained there moved him to-
ward hard-edge painting. Listening to a
lecture by Pierre Barbaud in 1967, Mohr
realized that he could use the computer
for his artistic method, an idea that be-
came central in his artistic development.
The key notion was the repertoire.
Coming from a musical background,
and stylistically bound to hard-edge
painting, Mohr was used to working with
basic elements: notes, geometric forms
and distribution and composition of
well-defined objects. Mohr studied some
of Benses works and was fascinated by
the idea of an objective aesthetic based
on scientific principles made possible by
using the computer as a tool. He took
Bense literally, investigated his form lan-
guage, counted the occurrence of each
geographic element, fed them into a
9. F. Nake, sthetik als Informationsverarbeitung: Grund- 18. J.H. Kay, Art Science on the Charles, Art in Geisteswissenschaft 5, Nos. 34, 121125 (1964); see
lagen und Anwendungen der Informatik im Bereich s- America 55, No. 5, 6267 (SeptemberOctober 1967); also Statistische Grafik, in the same issue, p. 67f.
thetischer Produktion und Kritik (Vienna: Springer, G.M. Spruch, Two Contributions to the Art and Sci-
1974). ence Muddle. 2. A Report on a Symposium on Art 22. G. Nees, Generative Computergraphik (Berlin: Sie-
and Science Held at the Massachusetts Institute of mens AG, 1969).
10. M. Bense and G. Nees, Computer-Grafik (Stuttgart, Technology, March 2022, 1968, Artforum VII, No.
West Germany: Walther, 1965). 5, 2832 ( January 1969). 23. A-R-C Muse dArt Moderne de la Ville de Paris,
Manfred Mohr: Computer Graphics. Une esthtique
11. Bense and Nees [10].
19. F. Nake, On the Inversion of Information Aes- programme (Paris, 1971).
12. Bense and Nees [10], English translation in J. Re- thetics, bit international, No. 7 (1969) pp. 5966.
ichardt, Cybernetics, Art and Ideas (London: Studio 24. P. Ehn, Manifesto for a Digital Bauhaus, Digi-
Vista, 1971) p. 57f. 20. For a comparison of the events of summer 1968 tal Creativity 9, No. 4, 207216 (1998); J. Maeda, Cre-
in London and Zagreb, see C. Kltsch, The Sum- ative Code (London: Thames & Hudson, 2004).
13. Bense and Nees, in Reichardt [12] p. 57.
mer 1968 in London and Zagreb: Starting or End
14. Bald Krumme Linien, Der Spiegel, Nr. 18/1965 Point for Computer Art? Creativity & Cognition. Pro- Christoph Kltsch is a professor of contempo-
S. 151f. ceedings 2005, pp. 109117. See also the two exhibi- rary art history at the Savannah College of
tion catalogues: bit international, International
15. C.P. Snow, The Two Cultures, The New States- colloquy on computers and visual research, Zagreb, Art and Design in Savannah. His Ph.D. dis-
man and Nation, No. 52, 413414 (6 October 1956). 34 August 1968 (Zagreb, Croatia: Galerije Grada Za- sertation Computergraphik. Computerkunst
16. C.P. Snow, The Moral Un-Neutrality of Science. greba, 1968) and Jasia Reichardt, ed., Cybernetic in den 60er Jahren, sthetische Experimente
Reprint, Computers and Automation 10, No. 5, 1317 Serendipity: The Computer and the Arts, exh. cat. (Lon- zwischen zwei Kulturen (Computer graphic.
(May 1961). don: Studio International Special Issue, 1968).
Aesthetic experiments between two cultures)
17. L. Mezei, Notes on the Computer and the Arts, 21. G. Nees, Variationen und Figuren in der statis- was published in German with Springer Wien
Computers and Automation 15 (May 1966) p. 8. tischen Grafik, Grundlagenstudien aus Kybernetik und New York in 2007.
In celebration of Leonardo journals 40th anniversary, we are calling for essays related to Leonardo da
Vinci and his concerns regarding the relationship between art and science. We are interested in submis-
sions in which Leonardos own concerns serve as a springboard for looking toward the present. What,
building upon Leonardos ways of thinking, can artists and scientists tell each other today? We also seek
original accounts of his visual art, of his achievements as a proto-scientist and of the relation between
his concerns with science and with visual art.
Prospective authors are encouraged to review the Leonardo Author Guidelines on the Web:
www.leonardo.info. (Follow the links: Publications, Information for Authors, Leonardo Print
Journals, Editorial and Illustration Guidelines.)
Please send inquiries and submissions to Guest Editor David Carrier: <david.carrier@cwru.edu>.