920:. In 1963, the Zuse Graphomat Z64 was used to draw technical plans, which are required for the manufacture of parts and products. As he said, he thought also of his ideas - to make experimental and generative design. The reason for him to write the book "Formel - Farbe - Form", 1995, was to convey his knowledge about "Computer aesthetics of Media and Design" - based on generative design - to the next generation of designers. The current generation of designers uses as professional title for example "generative design" and operates under the concept of generative Design, data driven art or computational design. Nees also makes it one of the progenitors of today's generative design for art, advertising and animation – based on his Ph.D. thesis
279:
31:
477:? A mental concept which one can only consider cautiously and which however can call in question all the hitherto binding definitions of the inviolability of the human creative capacity. Looking at the multi-patterned constructions in Nees' graphics, with their floating ellipsoids, crystalloid spheres and bizarre forms, one cannot help but acknowledge and appreciate their atmospheric and inspiration-inducing effects.
349:) in 1968. This artwork is well known and can be seen on the website of the Victoria and Albert Museum, London. When writing the program Nees introduced commands for random numbers, which produced from a designated point on the resulting chaos. This causes the graphic to develop from order to disorder or vice versa, if the graphic is turned through 180 degrees (upside down).
356:: Crafting a Virtual Sculpture: ″Georg Nees’s Gravel Stones … What attracted me to this piece was the simplicity of the concept and the overall interpretation of transforming order into disorder. … What intrigues me with this "ancient" piece was the use of exact mathematical computations to model a chaotic image and the progression from the ordered to the disordered.″
337:
explains how this graphic was created: ″In fact, the picture does consist of one continuous path of arcs. … The length and radius of the individual arcs are randomly chosen within the limits defined by the programmer … The picture in it present form is due to a fairly serious programming error … It
448:
My own computer graphics in the spring of 1986, I understand as studies on ambience, as they could be synthesized by perhaps a future
Reagiblen machines. An essential part task in the design of such machines is thinking out sample dialogues, which one would like to perform with the finished
1445:
Wulf
Herzogenrath (Hsgr.), Barbara Nierhoff-Wielk: Ex Machina - Frühe Computergrafik bis 1979: Die Sammlungen Franke und weitere Stiftungen in der Kunsthalle Bremen. Herbert W. Franke zum 80.Geburtstag. Deutscher Kunstverlag, Bremen, 2007, Page 443,
380:
was first calculated with the System 2002 and drawn with the
Graphomat Z64. For the Hannover fair in 1970 the drawings were created with the modern System 4004 again. One of the drawings was printed as a poster for the Hannover Fair and for the 35th
271:, Nees describes how the computer program controlled the milling machine so that instead of a workpiece, a sculpture was created. Three painted wooden sculptures and several graphics were shown at the Biennale 1969 Nuremberg. In 1970 at the 35th
243:. In 1969, his thesis was published as a book entitled "Generative Computergraphik" and also included examples of program code and graphics produced thereby. After his retirement in 1985 Nees worked as an author and in the field of
575:
Georg Nees: ″Was bedeutet eine Welt, in der die simulierte
Wirklichkeit immer realer wird?″, In: Naturwissenschaft und Kunst Kunst und Naturwissenschaft - Versuche der Begegnung, Universität Leipzig, Kustodie, Pages 42–46
416:
Nees retired in 1985 and started his research and experiments again. He devoted his time solely to semiotics and aesthetics for media and design. He published the results from 1995 onwards in several books and articles.
200:, where he spent his childhood. He showed scientific curiosity and interest in art from a young age and among his favorite pastimes were viewing art postcards and looking through a microscope. He attended a school in
544:
Georg Nees: ″Variationen von
Figuren in der Graphik″, in: Grundlagenstudien aus Kybernetik und Geisteswissenschaft, vol. 5, no. 3/4, December 1964, Pages 121-125. G. N., Generative Computergraphik, Berlin,
1423:
Wulf
Herzogenrath (Hsgr.), Barbara Nierhoff-Wielk: Ex Machina - Frühe Computergrafik bis 1979: Die Sammlungen Franke und weitere Stiftungen in der Kunsthalle Bremen. Herbert W. Franke zum 80.Geburtstag.
444:
commands. Based on the commands, the computer produced different graphics. He wrote the programs in the Lisp language and a System 7000 calculated the graphics. Nees wrote in the exhibition catalog:
432:, which was planned for October 1986. He said yes and created a new series of computer graphics. These graphics have a special position within the oeuvre by Nees. To generate the graphics he gave the
563:
Georg Nees: ″Metamorphosen - Eine Übung in
Morphographie″. SEMIOSIS Pages 65/66, 67/68, Sonderausgabe SEMIOSIS 65-68, Heft 1-4, 1992: Festschrift für Elisabeth Walter-Bense, Pages 258-268 (1992a).
1480:
1463:
Wulf
Herzogenrath (Hsgr.), Barbara Nierhoff-Wielk: Ex Machina - Frühe Computergrafik bis 1979: Die Sammlungen Franke und weitere Stiftungen in der Kunsthalle Bremen. 2007, Page 440-443,
579:
Georg Nees: ″Computable Beauty″. In
Brunnstein K., E. Raubold (Eds.): IFIP Transactions: Applications and Impacts, Information Processing '94, Vol II, Amsterdam, Pages 398-405 (1994b).
313:
language, Nees created drawings and graphics for production, art and architectural drawings. He wrote the new graphics libraries G1, G2 and G3 with ALGOL, for controlling the Z64 and
275:
his work was part of the special exhibition "Research and Design. Proposals for an experimental exposure" and showcased his sculptures and graphics of art and architectural design.
554:
Georg Nees: ″Künstliche Kunst und Künstliche
Intelligenz - Artificial Art and Artificial Intelligence″, In: Bilder Images Digital, Barke, München, Pages 58–67, 1986, text de, en.
557:
Georg Nees: ″Regency Graphics and the Esthetics Laboratory″: Picture Generation by Point-Distinction and Pseudodistance Minimizing. LEONARDO 23, No. 4, Pages 335-361 (1990).
1564:
Giloth, Copper; Pocock-Williams, Lynn (1990), "A Selected Chronology of Computer Art: Exhibitions, Publications, and Technology", Art Journal 49 (3): Page 292,
1714:
267:
took place at the public premises of the "Study Gallery of Stuttgart College". In 1966, he started to work on "computer-sculptures". In the catalog of the
1842:
1745:
603:, the influential painter of German Informel, advised Etzold to collection computer graphics. Graphics and sculptures by Nees are part of the collection.
886:
302:
Nees said: ″There it was, the great temptation for me, for once not to represent something technical with this machine but rather something ‘useless’ –
1351:
Frieder Nake: Computer Art: Where‘s the Art?; Bilder Images Digital. Computerkünstler in Deutschland 1986. München, Barke, 1986, de, en, Page 69-73
585:
Georg Nees: ″Growth, Structural Coupling and Competition in Kinetic Art″, - Leonardo, 2000 - MIT Press, February 2000, Vol. 33, No. 1, Pages 41–47.
1832:
453:.″ The automaton would respond with the production of the image ″sphere north-west-nadir.″ The dialog would continue with ″Add on the context,
538:
Georg Nees: ″Statistische Graphik″, in: Grundlagenstudien aus Kybernetik und Geisteswissenschaft, vol. 5, no. 3/4, December 1964, Pages 67–78.
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Georg Nees was not only a pioneer of computer art, but also one of the grandfathers of computer supported design processes – the
216:
in Erlangen from 1951 to 1985. There he started to write his first programs in 1959. The company was later incorporated into the
177:
1827:
967:Ästhetik als Informationsverarbeitung: Grundlagen und Anwendungen der Informatik im Bereich ästhetischer Produktion und Kritik
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in 1970. There were also computer drawings for fair pavilions of the Siemens AG, such as the "German Industry Exhibition" in
396:
for residential dwellings and urban design with Nees creating the computer aided design plans for the project. The graphic
1837:
1608:
Georg Nees: Künstliche Kunst und Künstliche Intelligenz, In: Bilder Images Digital, Barke Verlag, 1986, de, en, Page 112,
1399:
1697:
Georg Nees: Künstliche Kunst und Künstliche Intelligenz, In: Bilder Images Digital, Barke Verlag, 1986, de, en, Page 65,
1673:
1095:
Christoph Klütsch (2007, Juli): Computergrafik: Ästhetische Experimente zwischen zwei Kulturen. Springer, 2007, Page 20,
1085:
551:
Georg Nees: ″Die Orchidee nimmt wahr″. In: Rottensteiner F. (Hrsg.): Polaris 6, Frankfurt am Main 1982, Pages 169-205.
582:
Georg Nees: ″Geometry and the Cognitive Principle in Semiotics and Esthetics″. SEMIOSIS Pages 77–78, Heft 1/2 (1995).
1721:
880:
995:
Computergrafik: Ästhetische Experimente zwischen zwei Kulturen. Die Anfänge der Computerkunst in den 1960er Jahren
1269:, in: Katalog, Konstruktive Kunst: Elemente + Prinzipien, Biennale Nürnberg, 1969, No page numbers in the catalog
372:) in 1968. In 1968 Nees started his collaboration with the architect Ludwig Rase for the Siemens Pavilion at the
1375:, in: Katalog, Konstruktive Kunst: Elemente + Prinzipien, Biennale Nürnberg, 1969.No page numbers in the catalog
278:
1590:
1592:
Berufsverband Bildender Künstler entdeckt Computer als Handwerkszeug. Ausstellung: Digital belebte Kunstwelt.
572:
Georg Nees: ″Fraktale - Geburt einer Zeichenfamilie″. WECHSELWIRKUNG, Nr. 65, Feb. 1994, Pages 11–16 (1994a).
1116:
433:
314:
228:
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63:
268:
205:
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1035:
Andrea Gleiniger und Georg Vrachliotis: Code. Zwischen Operation und Narration. Birkhäuser Verlag, 2010,
1425:
1553:
1084:
Arbeitsberichte des Instituts für Informatik Friedrich-Alexander-Universität Erlangen Nürnberg, 2003
1822:
1817:
405:
172:, International Journal of semiotics and aesthetics. In 1977, he was appointed Honorary Professor of
209:
204:
near Nuremberg, graduating in 1945. From 1945 to 1951, he studied mathematics and physics at the
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1312:
303:
84:
569:
Georg Nees: ″Das Aleatorische, das Berechenbare und das Programm″. In: Nake 1993, Pages 139-164.
566:
Georg Nees: ″Das Chaos - der Computer - die Form″. In Holeczek, von Mengden 1992, Pages 113-117.
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Nees is one of the "3N" computer pioneers, an abbreviation that has become acknowledged for
173:
121:
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Georg Nees: "Generative Computergraphik", Siemens AG, Berlin, München, 1969, Page 236-239.
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185:
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Georg Nees: "Generative Computergraphik", Siemens AG, Berlin, München, 1969. No ISBN No.
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373:
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was designed to be less complex and it had to be ended manually because of the error.″
318:
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30:
1797:"Heike Werner Gallery for Computer Art and New Photography - Pioneer Work: Georg Nees"
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computer grafik, edition rot 19, Max Bense und Elisabeth Walther, Stuttgart, 1965,
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Georg Nees: ″Was ist Morphographie?″, SEMIOSIS 63/64, Heft 3/4, Pages 9–31 (1991).
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Franke, H. W. (1971), "Computers and visual art", Leonardo 4 (4): Page 331–338,
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Grenzzeichen. Bilder und Gedanken zu einer constraint-orientierten Ästhetik
520:
Grenzzeichen. Bilder und Gedanken zu einer constraint-orientierten Ästhetik
364:
The first computer graphic produced in architecture by Nees was the motive
294:, for the data center at the Schuckertwerke in Erlangen. At the exhibition
239:
under Max Bense in 1969. His work is considered one of the first theses on
152:(23 June 1926 – 3 January 2016) was a German academic who was a pioneer of
1796:
400:
developed during this was used for the cover and poster of the exhibition
282:
Flatbed drawing machine ZUSE Z64, photograph by Tomasz Sienicki (one work)
263:, the newly introduced Zuse Graphomat Z64 plotter. The exhibition, titled
1180:"AI and Heritage: A Discussion on Rethinking Heritage in a Digital World"
169:
161:
541:
Georg Nees: ″computer-grafik″, in: rot 19, edition rot . Stuttgart 1965.
469:
The art critic Eva Karcher wrote in the interpretation of his graphics:
139:
1316:
92:
1577:
548:
Georg Nees: ″Design und Programm″. In: Gesamttextil 1971, Pages 38–41.
1280:"ZKM | ZKM | Ausstellungen 08|2006 :: Georg Nees"
450:
429:
109:
1386:"Schotter | Nees, Georg | V&A Explore the Collections"
1308:
696:
Was die Schönheit sei, das weiß ich nicht. Künstler - Theorie - Werk
449:
instrument. The following dialog could then be feasible: ″Show me a
255:
In February 1965, Nees showed - as works of art - the world's first
1569:
983:, Springer, Softcover reprint of the original 1st ed. 2002 (2013),
504:, edition rot 19, Max Bense und Elisabeth Walther, Stuttgart, 1965.
377:
310:
277:
826:
Genau + anders - Mathematik in der Kunst von Dürer bis Sol LeWitt
1047:
When the Machine Made Art: The Troubled History of Computer Art
1009:
Ordnung und Kontingenz: das kybernetische Modell in den Künsten
595:
1972: The Museum Abteiberg, Mönchengladbach, received from the
188:, whose computer graphics were created with digital computers.
877:
Sammlung Etzold, Städtische Museum Abteiberg, Mönchengladbach.
458:
424:
asked Nees whether he wished to participate in the exhibition
1168:
Generative Computergraphik, Siemens AG, Berlin, München, 1969
345:
to create aesthetic graphics, such as the graphic ″gravel ″ (
526:
Die Gassenhauer-Ontologie. Ein philosophischer Zukunftsroman
465:.″; The response would be the image, ″Apollo and Dionysius″.
329:(Arc confusion) was a graphic of this series, also known as
1530:
Formel, Farbe, Form: Computerästhetik für Medien und Design
649:, Frieder Nake und Georg Nees, Galerie Niedlich, Stuttgart.
514:
Formel, Farbe, Form: Computerästhetik für Medien und Design
1250:
Grenzgebiete der bildenden Kunst, Staatsgalerie Stuttgart
1217:
Grenzgebiete der bildenden Kunst, Staatsgalerie Stuttgart
835:. tendencije | Computer und visuelle Forschung, Zagreb.
1074:
http://www.medienkunstnetz.de/kuenstler/nees/biografie/
1400:"A Shattered Perfection: Crafting a Virtual Sculpture"
1145:"ZKM | ZKM | Exhibitions :: Georg Nees"
620:
Anfänge der Computergraphik - aus der Sammlung Etzold.
1760:
http://www.museum-abteiberg.de/index.php?id=2&L=1
1131:
auf der Webseite des Deutschen Wissenschafts-Verlags.
1184:
International Journal of Cultural and Social Studies
782:. Frühe generative Computergrafiken, ZKM, Karlsruhe.
317:. In 1965 Nees experimented with random numbers and
286:
In 1963, Nees was instrumental in the purchase of a
160:. He studied mathematics, physics and philosophy in
1544:, Deutscher Wissenschaftsverlag, Baden-Baden, 2010.
1508:. In: NOVUM Gebrauchsgraphik Heft 8, 1972, S. 48-56
528:, Deutscher Wissenschaftsverlag, Baden-Baden, 2014.
522:, Deutscher Wissenschaftsverlag, Baden-Baden, 2010.
120:
108:
72:
56:
48:
40:
21:
1330:"Kreisbogengewirre | Database of Digital Art"
946:Cybernetic Serendipity: the Computers and the Arts
867:, Victoria & Albert Museum - V&A, London.
849:, Victoria & Albert Museum - V&A, London.
747:, Musée d´art contemporain de Montréal, Montreal.
691:., Georg Nees, Ludwig Rase, 35. Biennale Venedig.
635:, Studiengalerie Technische Hochschule Stuttgart.
705:, ARTEONICA, Ludwig Rase, Georg Nees, São Paulo.
223:From 1964 onwards, he studied philosophy at the
16:German computer scientist and artist (1926–2016)
1518:http://dada.compart-bremen.de/item/artwork/1029
865:Chance and Control: Art in the Age of Computers
235:. He received his doctorate with his thesis on
1772:https://www.springer.com/gb/book/9783642633850
481:Nees died on 3 January 2016 at the age of 89.
1758:Städtische Museum Abteiberg, Mönchengladbach
8:
1139:
1137:
712:, CAYC, Museo de Arte Moderno, Buenos Aires.
614:Sammlung Etzold, Anfänge der Computergrafik.
1674:"Georg Nees | Database of Digital Art"
1650:Künstliche Kunst und Künstliche Intelligenz
1626:Künstliche Kunst und Künstliche Intelligenz
941:, in: rot 19, edition rot . Stuttgart 1965.
599:works from the early days of computer art.
812:Ex Machina - Frühe Computergrafik bis 1979
29:
18:
675:Konstruktive Kunst: Elemente + Prinzipien
1656:, Barke Verlag, 1986, de, en, Page 114,
1632:, Barke Verlag, 1986, de, en, Page 112,
800:- Museum für Konkrete Kunst, Ingolstadt.
1065:
1025:, Victoria & Albert Museum, 2009,
887:Zentrum für Kunst und Medientechnologie
740:, Centre d'Information SIGMA, Bordeaux.
1744:: CS1 maint: archived copy as title (
1737:
392:Ludwig Rase experimented based on the
726:, Wanderausstellung, Goethe Institut.
352:Robert J. Krawczyk wrote in his text
290:, the Zuse Graphomat Z64 designed by
35:Georg Nees, 1986, photo Alex Kempkens
7:
793:, Tama Art University Museum, Tokyo.
768:, Wilhelm Hack Museum, Ludwigshafen.
510:, Siemens AG, Berlin, München, 1969.
1520:data.compart-bremen, Kubo-Octaeder.
858:1960s and 1970s Media Art Snapshots
807:, Kunstverein Wolfsburg, Wolfsburg.
670:, Kubus Hannover, München, Hamburg.
1506:Computerdesign für Raum und Fläche
981:Explorations in Art and Technology
428:in the ″Gallery of the Artist″ in
168:and was scientific advisor at the
14:
1843:Information technology in Germany
1011:, Königshausen u. Neumann, 2008,
840:Genesis – Die Kunst der Schöpfung
805:Der Traum von der Zeichenmaschine
457:; visualize the contrast between
296:Georg Nees – The Great Temptation
1113:Grenzgebiete der bildenden Kunst
906:Modern generative graphic design
754:, Galerie der Künstler, München.
733:, Hamburger Kunsthalle, Hamburg.
717:Grenzgebiete der bildenden Kunst
1049:, Bloomsbury Publishing, 2014,
821:, Leopold Hoesch Museum, Düren.
710:The Arte de Sistemas exhibition
661:Computer und visuelle Forschung
225:Technische Hochschule Stuttgart
196:Georg Nees was born in 1926 in
1833:University of Stuttgart alumni
1428:, Bremen, 2007, Page 440-443,
1021:Honor Beddard, Douglas Dodds:
953:Computergraphik, Computerkunst
860:- Akbank Art Center, Istanbul.
703:Computer drawer spacestructure
597:Hans Joachim Etzold collection
360:Computer designed architecture
1:
939:Projekte generativer Ästhetik
854:Histories of the Post-Digital
773:Künstliche Kunst. Die Anfänge
682:Auf dem Weg zur Computerkunst
376:in 1970. The drawings of the
814:, Kunsthalle Bremen, Bremen.
775:, Kunsthalle Bremen, Bremen.
241:Generative Computer Graphics
115:Generative computer graphics
1119:In: Katalog, 1972, Page 69.
791:Beginnings and Developments
663:, Nuove Tendenze 4, Zagreb.
1859:
926:Generative Computergraphik
922:Generative Computergraphik
909:
881:Victoria and Albert Museum
842:, Zentrum Paul Klee, Bern.
738:Vert l'art de l'ordinateur
719:, Staatsgalerie Stuttgart.
608:Programm- Zufall – System.
508:Generative Computergraphik
237:Generative Computergraphik
1532:, Springer, Berlin, 1995.
1178:Todorovic, Milos (2024).
787:20th Century Computer Art
684:, Kiel, Davos, Offenbach.
516:, Springer, Berlin, 1995.
136:
132:
101:
28:
1493:fair pavilion, São Paulo
1481:fair pavilion, São Paulo
1196:10.46442/intjcss.1397403
944:Jasia Reichardt (Hrsg):
761:, BMW Pavilion, München.
374:Hannover Industrial Fair
315:random number generation
174:Applied computer science
52:3 January 2016 (aged 89)
1117:Staatsgalerie Stuttgart
731:computer art. nees rase
689:Ricerca e Progettazione
402:Computer art. nees rase
269:Biennale 1969 Nuremberg
229:University of Stuttgart
64:University of Stuttgart
1828:German digital artists
1599:vom 14. November 1986.
759:25 Jahre Computerkunst
724:Wege zur Computerkunst
668:On the Eve of Tomorrow
654:Cybernetic Serendipity
479:
467:
354:A Shattered Perfection
283:
210:industry mathematician
206:University of Erlangen
192:Early life and studies
178:University of Erlangen
1654:Bilder Images Digital
1630:Bilder Images Digital
1554:Gallery of the Artist
1426:Deutscher Kunstverlag
752:Bilder Images Digital
471:
446:
426:Bilder Images Digital
341:Nees worked with the
281:
214:Siemens Schuckertwerk
1838:Mathematical artists
780:Die große Versuchung
698:, Biennale Nürnberg.
677:, Biennale Nürnberg.
475:creativity stimulant
406:Hamburger Kunsthalle
304:geometrical patterns
1801:www.heikewerner.com
1248:Herbert W. Franke:
1215:Herbert W. Franke:
1111:Herbert W. Franke:
993:Christoph Klütsch:
969:, Springer, 1974,
955:, Bruckmann, 1971,
951:Herbert W. Franke:
819:Die Neuen Tendenzen
798:Die Neuen Tendenzen
343:Siemens System 2002
158:generative graphics
1495:, db-bauzeitung.de
997:, Springer, 2007,
745:L'art systématique
490:Apoll und Dionysos
284:
208:then worked as an
85:computer scientist
1256:, 1972, Page. 89.
1045:Grant D. Taylor:
918:Generative Design
912:Generative Design
894:Kunsthalle Bremen
892:Sammlung Franke,
889:, ZKM, Karlsruhe.
833:bit international
640:Group exhibitions
473:The automaton as
327:Kreisbogengewirre
257:computer graphics
184:, Georg Nees and
147:
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1483:, tu-cottbus.de/
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1023:Digital Pioneers
1007:Hans Esselborn:
847:Digital Pioneers
633:computer graphik
265:computer graphik
261:digital computer
227:(since 1967 the
140:edit on Wikidata
122:Doctoral advisor
33:
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626:Solo exhibition
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502:computer grafik
498:
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414:
383:Venice Biennale
362:
325:). The graphic
288:flatbed plotter
273:Venice Biennale
259:created with a
253:
194:
186:A. Michael Noll
143:
103:Academic career
97:
68:
57:Alma mater
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1789:External links
1787:
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1589:Helga Biesel:
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963:
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942:
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910:Main article:
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1727:on 2015-04-27
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1703:3-926167-00-9
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1504:Ludwig Rase:
1501:
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1469:9783422066892
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1286:on 2015-04-27
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1151:on 2011-06-17
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1055:9781623568849
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1038:
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1017:9783826037801
1014:
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1006:
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1003:9783211394090
1000:
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990:
989:9781447111030
986:
982:
979:Linda Candy:
978:
976:
975:9783211812167
972:
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962:
958:
954:
950:
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943:
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924:and the book
923:
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438:philosophical
435:
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423:
422:Alex Kempkens
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398:Kubo-Octaeder
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394:cuboctahedron
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1722:the original
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1371:Georg Nees:
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1284:the original
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412:From 1985 on
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335:Frieder Nake
330:
326:
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254:
251:Computer art
245:computer art
222:
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182:Frieder Nake
154:computer art
149:
148:
114:
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44:23 June 1926
1823:2016 deaths
1818:1926 births
1770:Georg Nees
1129:Autorenvita
937:Max Bense:
872:Collections
590:Exhibitions
463:coincidence
440:as well as
319:circle arcs
292:Konrad Zuse
1812:Categories
1731:2015-04-21
1684:2016-01-12
1290:2015-04-21
1238:3874510190
1155:2011-01-13
1072:Semiosis,
1061:References
961:3765414123
932:Literature
378:truss roof
323:Kreisbögen
309:Using the
218:Siemens AG
150:Georg Nees
73:Occupation
23:Georg Nees
928:in 1969.
901:Reception
896:, Bremen.
883:, London.
722:1972-74:
659:1968-69:
434:AI engine
420:In 1985,
408:in 1972.
389:in 1971.
387:São Paulo
233:Max Bense
231:), under
202:Schwabach
198:Nuremberg
166:Stuttgart
127:Max Bense
1740:cite web
1190:(1): 5.
576:(1994c).
442:mythical
436:simple,
366:corridor
347:Schotter
212:for the
170:SEMIOSIS
162:Erlangen
1317:1572504
1254:Katalog
1221:Katalog
404:in the
298:at the
176:at the
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451:sphere
430:Munich
331:Locken
110:Thesis
1725:(PDF)
1718:(PDF)
1574:JSTOR
1403:(PDF)
1313:JSTOR
545:1969.
533:Texts
496:Books
311:ALGOL
138:[
1746:link
1699:ISBN
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485:Work
461:and
455:myth
370:Flur
164:and
156:and
49:Died
41:Born
1566:doi
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459:law
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