Jared Tarbell’s Invaders in a single formula
Folder contains 10 plates of computer generated artworks by Georg Nees
Published by Siemens, Erlangen, 1969
Translation of the jacket text:
with Siemens-System 4004
drawn with Zuse-Graphomat
milled with Sinumerik
The esthetic of information as it has been developed by Max Bense and his students as well as Abraham A. Moles, has made us aware of the difference between semantic and aesthetic information. Semantic information means something, be it the weight of a human, the silhouette of a object, or the contents of a novel. Aesthetic information, however, does not mean anything, because the shape of the dolphin’s just beautiful, that it also is aerodynamically favorable concerns the semantics, not the aesthetics. The wealth of aesthetic forms is immense, the existence of meaningful purpose friendly forms is limited. Dolphins are a synthesis of semantic and aesthetic information, as well as vacuum cleaners and they differ in the fact that dolphins have emerged from the biological, vacuum cleaners from the sociological evolution. No dolphin is exactly alike, no vacuum cleaner receives from a designer exactly the same case as the previous. This variability can be replicated in a model. Computers vary a form by letting scatter the shape-determining dimensions through random number generators within specified limits (no dolphin is greater than max, less than min). Yet design by computer is still at the very beginning - variations of a form for a purpose by the computer, selection of ideal variants. When a computer generates graphics we speak of computer graphics. Design - that would be applied computer graphics. Pure Computer Graphics - well, we give examples. Unlimited forms are conceivable, unlimited number of variants of such forms. The most primitive types of artificial flora are suddenly there, who knows whereto they will develop.