Computergrafik Computerplastik (Computer Graphics Computer Sculpture) Portfolio

Basic Information

Title: Computergrafik Computerplastik (Computer Graphics Computer Sculpture) Portfolio
Artist(s): Georg Nees
Date Created: 1970
Unframed Dimensions: 12 x 12 in.
Medium:
Inventory ID: Nees-1970-02, a, b, c, d, e, f, g, h, i, j

Description

a portfolio of offset lithographs created after original unique plotter drawings and computer generated sculptures

plotter drawings were programed and drawn between 1965-1970 using:
hardware: Siemens-System 4004
software: ALGOL
output device: ZUSE-Graphomat Z64 plotter

sculptures were programed and created between 1965-1968 using:
hardware: Siemens-System 4004
software: EXAP-1
output device: Sinumerik milling machine

lithograph titles:
1(a). Plastik 1 (Sculpture 1)
2(b). Plastik 2 (Sculpture 2)
3(c). Untitled
4(d). Flur Korridor (Hall Corridor)
5(e). Kugel in einer Kugel (Sphere in a Sphere)
6(f). Schmetterlingsschwarm (Butterfly Swarm)
7(g). Untitled (Overlapping Colored Forms)
8(h). Untitled
9(i). Oberflächenverzierung (Surface Ornament)
10(j). Palace of Midas Rotated

artist’s statement in German by Nees printed on inside right flap of the portfolio:
Die Informationsasthetik wie sie durch Max Bense un seine Schuler, sowie durch Abaraham A. Moles entwickelt worden ist, hat uns auf den Unterschied zwischen semantischer un asthetischer Information aufmerksam gemacht. Semantische Information bedeutet etwas, sei es das Gewitcht eines Menschen, der Umrib eines Werkstucks, oder der Inhalt eines Romans. Asthetische Information dagegen bedeutet nichts denn die Form des Delphins ist einfach schon, dab sie daruber hinaus stromungstechnisch gunstig ist, betrifft die Semantik, nich die Asthetik. Der Reichtum der asthetischen Formen ist unermeblich, der Bestand der bedeutungsvollen zweckgerechten Formen ist begrenzt. Delphine sind Synthesen aus einer semantischen und einer asthetischen Information, ebenso wie Saubsauger und sie unterscheiden sich darin, dab Delphine aus der biologischen, Staubsauger aus der soziologischen Evolution hervorgegangen sind. Kein Delphin gleicht dem andern genau, kein Staubsauger erhalt vom zweiten. Diese Variabilitat kann man im Modell nachbliden. Computer variieren eine Form, indem sie die formbestimmenden Abmessungen durch Zufallsgeneratoren in festgelegten Grenzen struen lassen (kein Delphin ist grober als max, kleiner als min). Noch ist Design durch Computer ganz am Anfang-Variierung einer Form fur einen Zweck durch den Computer, Auswahl idealer Varianten. Schafft das Computermodell Grafiken, spricht man von Computergrafik. Reine Computergrafik – nun, wir geben Beispiele. Denkbar sind unbegrenzt viele Formen, unbegrenzt viele Varianten solcher Formen. Die primitivsten Arten einer artifiziellen Flora sind poltzlich da, wer weib, wohin sie sich entwickeln.

artist’s statement English translation:
Information aesthetics as developed by Max Bense and his students and by Abaraham 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 being, the outline of a workpiece, or the content of a novel. Aesthetic information, on the other hand, means nothing because the shape of the dolphin is simply beautiful, the fact that it is also favorable in terms of flow technology affects the semantics, not the aesthetics. The richness of aesthetic forms is immeasurable, the stock of meaningful purposeful forms is limited. Dolphins are syntheses of semantic and aesthetic information, like vacuum cleaners, and they differ in that dolphin evolved from biological evolution, vacuum cleaners from sociological evolution. No dolphin is exactly like the other, no vacuum cleaner is inherited from the second. This variability can be simulated in the model. Computers vary a shape by allowing the shape-determining dimensions to be stunned by random generators within specified limits (no dolphin is larger than max, smaller than min). Nor is design by computer at the very beginning varying a form for a purpose by the computer, selecting ideal variants. If the computer model creates graphics, one speaks of computer graphics. Pure computer graphics – well, we give examples. An unlimited number of forms, an unlimited number of variants of such forms are conceivable. The most primitive species of an artificial flora are suddenly there, who knows where they are going.

 

Detail images of the work

More Artworks By Georg Nees

Computergrafik – Strukturdesign (Computer Graphics – Structural Design) Portfolio

a portfolio of various media created after original unique plotter drawings each work is numbered in print lower left on the reverse plotter drawings were programed and drawn between 1968-1970 using: hardware: Siemens-System 4004 software: ALGOL output machine: ZUSE-Graphomat Z64 plotter print information: 1(a). Neese/Rase Kubo-Oktaeder (Cuboctahedron) serigraph on paper 2(b). Zottl Schwarm (Swarm) computer-generated […]

Werkstatt Edition Kroll

serigraph after a computer-generated original unique plotter drawing signed and dated lower right in graphite numbered 50/350 lower left in graphite title, dated, and copyrighted in print lower left corner hardware: Siemens System 4004 output machine: ZUSE-Graphomat Z64 plotter

Plastik 1 (Sculpture 1)

Computergrafik MIT (image created with) Siemens-System 4004 printed lower right gezeichnet mit (draw with) ZUSE-Graphomat printed lower right This serigraph was created from the design for a sculpture that Nees produced using a machine that could mill, or cut, a 3D shape. The machine followed the computer calculated image as a guide. The artist used […]