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An Interview with Frieder Nake
arts Editorial An Interview with Frieder Nake Glenn W. Smith Space Machines Corporation, 3443 Esplanade Ave., Suite 438, New Orleans, LA 70119, USA; [email protected] Received: 24 May 2019; Accepted: 26 May 2019; Published: 31 May 2019 Abstract: In this interview, mathematician and computer art pioneer Frieder Nake addresses the emergence of the algorithm as central to our understanding of art: just as the craft of computer programming has been irreplaceable for us in appreciating the marvels of the DNA genetic code, so too has computer-generated art—and with the algorithm as its operative principle—forever illuminated its practice by traditional artists. Keywords: algorithm; computer art; emergent phenomenon; Paul Klee; Frieder Nake; neural network; DNN; CNN; GAN 1. Introduction The idea that most art is to some extent algorithmic,1 whether produced by an actual computer or a human artist, may well represent the central theme of the Arts Special Issue “The Machine as Artist (for the 21st Century)” as it has evolved in the light of more than fifteen thoughtful contributions. This, in turn, brings forcibly to mind mathematician, computer scientist, and computer art pioneer Frieder Nake, one of a handful of pioneer artist-theorists who, for more than fifty years, have focused on algorithmic art per se, but who can also speak to the larger role of the algorithm within art. As a graduate student in mathematics at the University of Stuttgart in the mid-1960s (and from which he graduated with a PhD in Probability Theory in 1967), Nake was a core member, along with Siemens mathematician and philosophy graduate student Georg Nees, of the informal “Stuttgart School”, whose leader was philosophy professor Max Bense—one of the first academics to apply information processing principles to aesthetics. -
PARS-Mitteilungen 2015.Pdf
GESELLSCHAFT FÜR INFORMATIK E.V. PARALLEL-ALGORITHMEN, -RECHNERSTRUKTUREN UND -SYSTEMSOFTWARE PARS INFORMATIONSTECHNISCHE GESELLSCHAFT IM VDE I n h a l t 26. PARS-Workshop Potsdam (Full Papers) ........... 3 PARS (Berichte, Aktivitäten, Satzung)................. 153 ARCS 2016 (Nürnberg, 4. – 7. April 2016) ................... 162 12. PASA-Workshop 2016 (Nürnberg, 4. – 5. April 2016) ........................................ 164 Aktuelle PARS-Aktivitäten unter: http://fg-pars.gi.de/ Computergraphik von: Georg Nees, Generative Computergraphik MITTEILUNGEN Nr. 32, September 2015 (Workshop 2015) ISSN 0177-0454 PARS-Mitteilungen Gesellschaft für Informatik e.V., Parallel-Algorithmen, -Rechnerstrukturen und -Systemsoftware Offizielle bibliographische Bezeichnung bei Zitaten: Mitteilungen - Gesellschaft für Informatik e. V., Parallel-Algorithmen und Rechnerstrukturen, ISSN 0177 - 0454 PARS-Leitungsgremium: Prof. Dr. Helmar Burkhart, Univ. Basel Dr. Andreas Döring, IBM Zürich Prof. Dr. Dietmar Fey, Univ. Erlangen Prof. Dr. Wolfgang Karl, stellv. Sprecher, Univ. Karlsruhe Prof. Dr. Jörg Keller, Sprecher, FernUniversität in Hagen Prof. Dr. Christian Lengauer, Univ. Passau Prof. Dr.-Ing. Erik Maehle, Universität zu Lübeck Prof. Dr. Ernst W. Mayr, TU München Prof. Dr. Wolfgang E. Nagel, TU Dresden Dr. Karl Dieter Reinartz, Ehrenvorsitzender, Univ. Erlangen-Nürnberg Prof. Dr. Hartmut Schmeck, Univ. Karlsruhe Prof. Dr. Peter Sobe, HTW Dresden Prof. Dr. Theo Ungerer, Univ. Augsburg Prof. Dr. Rolf Wanka, Univ. Erlangen-Nürnberg Prof. Dr. Helmut Weberpals, TU Hamburg Harburg Die PARS-Mitteilungen erscheinen in der Regel einmal pro Jahr. Sie befassen sich mit allen Aspekten paralleler Algorithmen und deren Implementierung auf Rechenanlagen in Hard- und Software. Die Beiträge werden nicht redigiert, sie stellen die Meinung des Autors dar. Ihr Erscheinen in diesen Mitteilungen bedeutet keine Einschränkung anderweitiger Publikation. Die Homepage http://fg-pars.gi.de/ vermittelt aktuelle Informationen über PARS. -
Agnes C. Mueller Professor of German & Comparative Literature [email protected] (803) 414-0316
Agnes C. Mueller Professor of German & Comparative Literature [email protected] (803) 414-0316 Curriculum Vitae EMPLOYMENT University of South Carolina 2014- Professor of German & Comparative Literature 2015-2020 College of Arts & Sciences Distinguished Professor of the Humanities 2017-2021 Director, Program in Global Studies 2019- Core Faculty, Program in Jewish Studies 2001- Affiliate Faculty, Women’s and Gender Studies 2005-2013 Associate Professor 2001-2005 Assistant Professor 1998-2001 Visiting Assistant Professor University of Georgia 1997-1998 Instructor Vanderbilt University 1994-1997 Teaching Assistant EDUCATION 1997 Vanderbilt University Ph.D. in German Literature Nashville, Tennessee 1993 Ludwig-Maximilians-Universität M.A. in German and Munich, Germany Comparative Literature 1 Agnes C. Mueller ADMINISTRATIVE LEADERSHIP (selection): 2021 Chair, External Review Team (3 members), AQAD Review of Department of Languages, Literatures, and Cultures at R1 University 2017-2021 Director, Program in Global Studies. Directing a new interdisciplinary BA program with nearly 200 majors and 5 different content areas; single-handedly scheduling courses from other units across the university, meeting with students and prospective students and parents, advisement, devising new curriculum, building a core faculty group. Promoting program within university and outside, including devising MoUs with new European and global university partners. Advocating for/hiring of Associate and Assistant Directors (both in place since 2019). Grew program from 18 majors to nearly 200 majors (fall 2019) with modest budget. Directing all outreach and presenting to University Board of Visitors, to South Carolina school district representatives, to alumni, and seeking future donors in collaboration with CAS Development. Devising and scheduling monthly Global Café events (with notables from industry, state department, leaders in health and education). -
Concrete Constructions: Assembling a Postwar Poetics KURT BEALS Washington University in St
Concrete Constructions: Assembling a Postwar Poetics KURT BEALS Washington University in St. Louis Abstract: This essay focuses on the manifestos and theoretical works of Concrete poets—primarily the German-language poets Max Bense and Eugen Gomringer, as well as the Noigandres group—examining their engagement with discourses of postwar modernity, including internationalism, design, and communication and information theory. While the movement’s programmatic texts at times proved unpersuasive or inconsistent, they nonetheless demonstrated a readiness or even eagerness to cross boundaries—both national and disciplinary—and to seek inspiration from scientific and technical fields in an attempt to articulate a new poetics suited to the modern age. Rather than see the movement’s manifestos and theoretical statements as hubristic promises that its poetry could never keep, this essay proposes that we see the poems and the programmatic texts as two parts of the same project, which claimed a place for poetry in a technologically saturated age. Keywords: Max Bense, Eugen Gomringer, design, communication, information In 1965, the German poet, theorist, philosopher, publisher, and professor Max Bense published Brasilianische Intelligenz (Brazilian Intelligence), a short book in which he described the contemporary intellectual and cultural tendencies he had encountered on four visits to Brazil.1 In a brief preface, Bense argued “that the creative, not the contemplative” principle was central to Brazil’s intellectual life; it was “less the idea of (theoretical) separation than that of (practical) absorption” that “directed the existential relations” (Brasilianische 7). This focus 1 For analysis of Bense’s representation of Brazil, see Wolfson; Wrobel. 93 Beals on practical and applied measures rather than abstract principles, particularly in fields such as urban planning, visual art, and Concrete poetry, marked one of the defining features of modern Brazilian culture in Bense’s view. -
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Josef Albers (D), John M Armleder (CH), Hans/Jean Arp (F), Horst Bartnig (D), Martin Boyce (GB), Katja Davar (GB), Adolf Fleischmann (D), Sylvie Fleury (CH), Günter Fruhtrunk (D), Walter Giers (D), Camille Graeser (CH), Guan Xiao (CHN), Gregor Hildebrandt (D), Bernhard Höke (D), Markus Huemer (A), Takehito Koganezawa (J), Alicja Kwade (PL), Hartmut Landauer (D), Verena Loewensberg (CH), Robert Longo (USA), Ma Qiusha (CHN), Rune Mields (D), Kirsten Mosher (USA), Brian O’Doherty (IRL), Park Chan-kyong (ROK), Peter Roehr (D), Ugo Rondinone (CH), Lerato Shadi (ZA), Roman Signer (CH), K.R.H. Sonderborg (DK), Anton Stankowski (D), John Tremblay (USA), Rosemarie Trockel (D), Andrew Tshabangu (ZA), Timm Ulrichs (D), Xavier Veilhan (F), Xu Zhen produced by Madeln Company (CHN), Michael Zahn (USA), Heimo Zobernig (A) Videos, Audio and Sound Works, Sound Sculptures, Pictures, Graphics Compiled and arranged by Gerwald Rockenschaub July 7, 2019—February 2, 2020 Curator and Editor Renate Wiehager Contents 6 Introduction Sound on the 4th Floor Renate Wiehager 27 On Visual Codes and the Imaginary Soundtrack Interview with Gerwald Rockenschaub Nadine Isabelle Henrich and Sarah Maske 33 Composition in Music and Art Sarah Maske 39 Acoustic Immersion Strategies in Contemporary Art Nadine Isabelle Henrich 47 Words from Mouth to Abyss Friederike Horstmann 54 Sound—Structuring, Scattering, Mixing Sarah Maske 61 Instrument n°4, 2018 Xavier Veilhan 64 “Air to party in”—Rhythm as an Artistic Strategy in Painting, Photography and Video Nadine Isabelle Henrich 70 Exhibition views 78 List of works _ Gerwald Rockenschaub, design for exhibition display ›Sound on the 4th Floor‹ 4 5 Introduction _ Gerwald Rockenschaub, graphic draft for the exhibition Sound on the 4th Floor ›Sound on the 4th Floor‹, 2019 Renate Wiehager Seeing Sound spond to the theme in their motifs, whereby the term is reduced to a functional acronym: ‘Sot4thF’. -
Humans Create, Occasionally. Computers Operate, Always. Self-Evident & Trivial
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Dagstuhl Research Online Publication Server Humans Create, Occasionally. Computers Operate, Always. Self-Evident & Trivial Frieder Nake [email protected] This essay is a bit of a grumble. I will try to be subjectively trivial. Not exactly scientific. Some important names will be mentioned. If some readers enjoy reading this, it’s enough from my standpoint. The title exactly says what I want to say. The essay is only longer. In recent years, combinations of terms have become popular where one component is „computational“ or some relative of it, whereas the other is „aesthetics“ or „art“ or „creativity“, etc. The Dagstuhl semi- nar, to which this personal note owes its appearance, had the number 09291 and the title Computational Creativity: an Interdisciplinary Approach. Good old C. P. Snow would probably like such terms as signs of a conscious effort to bridge the gap between the „two cultures“: from the scientific culture (home of „computational“) to the literary („creativity“), and back again1. We have seen computational aesthetics, computer art (the oldest of them all), aesthetic computing, machine aesthetics, creative computation, computational creativity, and more. It is always absolutely boring to ask for a precise definition – a definition, not an explanation2 – of a complex term, in hope of making our ideas clear3, even though philosophers throughout the centuries have tried nothing but exactly this, and not only philosophers did so. How much have we, when we were young, indulged in endless debates about the meaning of a word. -
The Strategy of Equivocation in Adorno's "Der Essay Als Form"
$PELJXLW\,QWHUYHQHV7KH6WUDWHJ\RI(TXLYRFDWLRQ LQ$GRUQR V'HU(VVD\DOV)RUP 6DUDK3RXUFLDX MLN, Volume 122, Number 3, April 2007 (German Issue), pp. 623-646 (Article) 3XEOLVKHGE\-RKQV+RSNLQV8QLYHUVLW\3UHVV DOI: 10.1353/mln.2007.0066 For additional information about this article http://muse.jhu.edu/journals/mln/summary/v122/122.3pourciau.html Access provided by Princeton University (10 Jun 2015 14:40 GMT) Ambiguity Intervenes: The Strategy of Equivocation in Adorno’s “Der Essay als Form” ❦ Sarah Pourciau “Beziehung ist alles. Und willst du sie näher bei Namen nennen, so ist ihr Name ‘Zweideutigkeit.’” Thomas Mann, Doktor Faustus1 I Adorno’s study of the essay form, published in 1958 as the opening piece of the volume Noten zur Literatur, has long been considered one of the classic discussions of the genre.2 Yet to the earlier investigations of the essay form on which his text both builds and plays, Adorno appears to add little that could be considered truly new. His characterization of the essayistic endeavor borrows heavily and self-consciously from an established tradition of genre exploration that reaches back—despite 1 Thomas Mann, Doktor Faustus: das Leben des deutschen Tonsetzers Adrian Leverkühn, erzählt von einem Freunde, Gesammelte Werke VI (Frankfurt a. M.: Suhrkamp, 1974) 63. Mann acknowledges the enormous debt his novel owes to Adorno’s philosophy of music in Die Entstehung des Doktor Faustus; Roman eines Romans (Berlin: Suhrkamp, 1949). Pas- sages stricken by Mann from the published version of the Entstehung are even more explicit on this subject. These passages were later published together with his diaries. -
Aesthetics in Computational Design
Aesthetics in Computational Design A reflection on Max Bense’s theory on aesthetics of information and state of things. A. Benjamin Spaeth1 1Cardiff University, Welsh School of Architecture [email protected] Current dominance of functionalist and performance related approaches to computational design and methods in architecture are investigated under the precondition of Max Bense's theory of aesthetic potential. Establishing Bense's taxonomy of aesthetic potential and applying it to selected computational methods the level of aesthetic potential within the different computational approaches is investigated. Frei Otto's soap bubble experiments serve as a reference to illustrate different levels of aesthetic potential. Bense's aesthetic potential, which lies not in the eye of the beholder but is immanent to the object itself as a property of the object, suggests that computational design systems synthesising objects based on rules or embedded constraints appear to either have little aesthetic potential or receive their aesthetic potential form the outside of the computational system, namely the interaction with the user. Evolutionary design systems appear to create objects or processes with a certain aesthetic potential within Bense's theoretical framework. Keywords: Max Bense, aesthetic states, computational aesthetics, aesthetic theory A NEW STRUCTURALISM design solution is to emerge from the inherent prop- Computational design approaches and form find- erties of the basic element and the respective design ing algorithms are often driven by performance re- requirements transposing the structuralist idea onto lated design criteria (Block et al. 2017) or by fab- computational design methods. Oxman and Oxman rication determinations (YUAN, Menges, and Leach (2010) reiterated and postulated the idea of a ‘New 2018). -
Beat Suter Lineages of German-Language Electronic Literature
Beat Suter University of the Arts, Zürich Lineages of German-language electronic literature: the Döhl Line Abstract Pour présenter un aperçu de la littérature électronique en langue allemande, nous avons filtré quelques axes historiques qui peuvent expliquer comment différents genres ont émergé et se sont développés. Les toutes premières expériences de poésie générée par ordinateur constituent un bon point de départ car c'est un sujet sur lequel la communauté internationale s'accorde en général. Nous les avons examinées selon 5 axes de développement actuel : expériences en poésie concrète, écriture collaborative et environnements auteurs, hypertexte de l'hyperfiction à la net littérature, l'art du code, l'écriture des blogs et plus. Une analyse historique montre que ces cinq axes de la littérature numérique sont principalement issus de deux lignées philosophiques, poétiques et artistiques de la culture allemande remontant aux expériences des années 60 : L'école de Stuttgard de Max Bense dans laquelle s'inscrivent Reinhard Döhl et Theo Lutz, et les expériences d'image numérique de Kurd Alsleben et Antje Eske à Hamburg. Cet essai se concentre sur la première qui est également la plus ancienne en langue allemande. Mots clés : littérature électronique en langue allemande, lignes historiques, générateur de poésie électronique, e-littérature en ligne. Abstract In order to present an overview of German language electronic literature, the author of this essay filtered out historical lines that show and explain how the development of individual genres came about. A good starting point for this may be the very first experiments of authors with computers to generate 106 electronic poetry, a subject the international community mostly agrees upon. -
The Howard Wise Gallery Show Computer-Generated Pictures (1965) a 50Th-Anniversary Memoir
Historical Pers P e c t i v e Pioneers and Pathbreakers The Howard Wise Gallery Show Computer-Generated Pictures (1965) A 50th-Anniversary Memoir A . M i c H A e l N o l l In April 1965, the Howard Wise Gallery in New York City held T He HoWArd WiSe GAllery T c a show of computer-generated pictures by Bela Julesz and Michael A r Howard Wise was a wealthy industrialist, “noted for his inter- Noll. This show was a very early public exhibit of digital art in the United States. This essay is a memoir of that show. est in technology in art” [3], who was president of the Arco ABST Company—an industrial paint and coatings company in Cleveland, Ohio [4]. He sold the business and then pursued his interest in art, having studied art at the Louvre and the Bell Telephone Laboratories, Incorporated (nicknamed “Bell Sorbonne in the 1920s [5]. In 1957, he started an art gallery Labs”), was responsible for research and development for in Cleveland, and a few years later he started a gallery in the Bell System and was owned jointly by the Western Elec- New York City. tric Company and the American Telephone and Telegraph The Howard Wise Gallery opened in 1960 at 50 West 57th Company (AT&T). During the 1960s, pioneering research Street in New York City and closed in 1970. Wise “foresaw in digital computer art and animation was conducted at Bell the future of art to be an alliance between artistic and tech- Labs, along with research into stereoscopic vision. -
Practice in Digital Art Secting with Emergent Socio-Legal Issues Connected to Contemporary Art
Plotting Critical Research- the project contributes to ongoing aesthetic discourse on digital art practice, while simultaneously inter- Practice in Digital Art secting with emergent socio-legal issues connected to contemporary art. Interloping on both theory and practice, the project lastly also provides a context Martin Zeilinger, PhD, Senior Lecturer in Media, for exploring the critical role artistic practice can Anglia Ruskin University play in – or as – research. Pattern Recognition takes early graphical computer art both as its research subject and as the object ‘In a technological society, there is, at least for its appropriation-based artistic interventions. in principle, no fundamental difference After choosing original works representing pioneering between research and artistic productivity.’ examples of the artistic use of programming and Max Bense1 computer technology (by artists such as Georg Nees, Vera Molnár, and Frieder Nake), I engage the works This short essay introduces my ongoing project in a multi-step process that begins with an extensive Pattern Recognition, which explores how evolving analysis of their algorithmic logic, and then continues machine agency in artist–computer collaboration on to reproduce them ‘from scratch’, including impacts our understanding of concepts such as the rewriting of the underlying source code and the ‘authorship’ and ‘cultural ownership’. Based on construction / modification of required reproduction the appropriation and reworking of early works hardware (such as simple table-top pen plotters). of computer art, Pattern Recognition develops Inhabiting all the steps involved in the (re-)creation a combined critical and artistic approach, in which of the chosen works as fully as possible expands detailed analysis of the original works is an inevitable my theoretical and practical understanding and prerequisite for reworking them artistically. -
On the Subject of the Ready-Made Or Using a Rembrandt As an Ironing Board
On the Subject of the Ready-Made or Using a Rembrandt as an Ironing Board Works from the Daimler Art Collection selected by Bethan Huws on the occasion of 100 years of the ready-made Daimler Art Collection On the Subject of the Ready-Made or Using a Rembrandt as an Ironing Board Works from the Daimler Art Collection selected by Bethan Huws on the occasion of 100 years of the ready-made Max Ackermann John McLaughlin Josef Albers Albert Mertz Ian Anüll Gerold Miller John M. Armleder Olivier Mosset Hans/Jean Arp Horst Münch Richard Artschwager John Nixon Willi Baumeister Blinky Palermo Bill Beckley Patrick Fabian Panetta Max Bill Esteban Pastorino Julius Heinrich Bissier Lothar Quinte Dieter Blum Timm Rautert Hartmut Böhm Joseph Francis Charles Rock Greg Bogin Peter Roehr Monika Brandmeier Ulrike Rosenbach Andreas Brandt Tom Sachs Sarah Browne Kiyoshi Sakamoto Max Burchartz Pietro Sanguineti Daniel Buren Viviane Sassen André Cadere Jürgen Schadeberg Siegfried Cremer Andreas Schmid Gia Edzgveradze Leonhard Schmidt Sergio Fermariello Jan J. Schoonhoven Roland Fischer Dayanita Singh Adolf Richard Fleischmann Anton Stankowski Günter Fruhtrunk Elaine Sturtevant Poul Gernes Guy Tillim Hermann Glöckner Hayley Tompkins David Goldblatt Rosemarie Trockel Camille Graeser Timm Ulrichs Konstantin Grcic Dieter Villinger George Grosz Andy Warhol Isabell Heimerdinger Franz West Jan Henderikse Christa Winter Adolf Hölzel Zheng Guogu Johannes Itten Heimo Zobernig Donald Judd Franklin Prince Knott Tadaaki Kuwayama Liu Zheng Robert Mapplethorpe FOREWORD The exhibition On the Subject of the Ready-Made or Using a Rembrandt as an Ironing Board – featuring 130 works from the Daimler Art Collection selected by Welsh conceptual artist Bethan Huws – strad- dles the years 2016 and 2017, thus referencing the ‘double’ birthday of the ready-made as a concept and as an artistic praxis.