Max Bense as a Visionary: from Entropy to the Dialectics of Programmed Images

在1960年的斯图加特，马克斯·本塞（Max Bense）出版了《编程美学》（Programming the Beautiful [Programmierung des Schönen]）一书。本塞在探寻科学概念时借鉴了控制论，并在文学领域引入了编程思想。他的信息美学影响了整整一代科学家和艺术家，包括斯图加特圈子，他们利用这种新美学实现了第一批程序化的艺术形象。本塞是一个有远见的人吗？他如何在图像世界中引领革命？本文讨论了启发本塞的控制论：一种与牛顿物理学原则相对的概率科学。此外，在60年代，马克斯·本塞与伊丽莎白·沃尔特（Elisabeth Walther）共同创办了实验杂志《红》（Rot），该杂志专门刊登具体诗歌和乔治·尼斯（Georg Nees）的第一批计算机生成的图像。正如弗里德·纳克（Frieder Nake）通过他的开创性工作和理论所辩护的，这些图像反对可见和可计算的界限。这种辩证法为艺术和科学中的算法图像开启了批判性思维。

Max Bense's book Programming the Beautiful aims to explore the idea of programming in literature and art. The article discusses how Bense's information aesthetics influenced a generation of scientists and artists.

Bense's information aesthetics, inspired by cybernetics, revolutionized the world of images by introducing a science of probability that contrasts with Newtonian physics. The dialectic between the visible and the computable opens up critical thinking on the algorithmic image in art and science.

Bense's experimental magazine Rot devoted its pages to concrete poetry and computer-generated images. The article discusses the first programmed artistic images created by the Stuttgart Circle. The paper also explores the dialectic between the visible and the computable and its implications for critical thinking on the algorithmic image in art and science.

Other related works in this field include Frieder Nake's pioneering work and theory on algorithmic images and Georg Nees's computer-generated images featured in Bense's magazine Rot.