{"id":12982,"date":"2020-09-23T11:20:26","date_gmt":"2020-09-23T09:20:26","guid":{"rendered":"http:\/\/dam.org\/wp\/?post_type=artists_ui&p=12982"},"modified":"2026-07-01T16:07:33","modified_gmt":"2026-07-01T14:07:33","slug":"nake-frieder","status":"publish","type":"artists_ui","link":"https:\/\/dam.org\/museum\/artists_ui\/artists\/nake-frieder\/","title":{"rendered":"Frieder Nake"},"content":{"rendered":"

[vc_row shift_y=”0″ z_index=”0″ el_class=”portfolio”][vc_column][vc_tabs tabs_align=”center” css_animation=”fade-up” el_class=”tab”][vc_tab title=”Frieder Nake” tab_id=”1589893367311-4-6″ el_class=”artist_portfolio_name”][vc_row_inner][vc_column_inner width=”1\/4″][vc_single_image image=”12987″ img_size=”full” css=”” full_width=”1″ opacity=”100″][\/vc_column_inner][vc_column_inner width=”3\/4″][vc_column_text]Frieder Nake is one of the three pioneering artists who showed their work in the first exhibitions of computer art in 1965. In 1971 he decided not to produce any more computer art and focused on his teaching and research activities in digital art. He is widely considered as a figure of reference in computer-generated art.<\/p>\n

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Further reference:
\ncompArt<\/a>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tab][vc_tab title=”Artworks” tab_id=”1600850403248-6-6″][vc_row_inner][vc_column_inner width=”1\/4″][vc_single_image image=”15856″ img_size=”full” onclick=”custom_link” css_animation=”fade-up” css=”” full_width=”1″ hover_effect=”opacity” opacity=”100″ animated_svg=”1″ link=”https:\/\/dam.org\/museum\/artists_ui\/artists\/nake-frieder\/generative-software\/”][\/vc_column_inner][vc_column_inner width=”3\/4″ content_placement=”default” css_animation=”fade-up”][vc_column_text]<\/p>\n

Generative Softwares (2025)<\/a><\/h6>\n

[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/4″][vc_single_image image=”13008″ img_size=”full” onclick=”custom_link” css_animation=”fade-up” css=”” full_width=”1″ hover_effect=”opacity” opacity=”100″ animated_svg=”1″ link=”http:\/\/dam.org\/museum\/artists_ui\/artists\/frieder-nake\/works_frieder_nake\/recent-works\/”][\/vc_column_inner][vc_column_inner width=”3\/4″ content_placement=”default” css_animation=”fade-up”][vc_column_text]<\/p>\n

Geradescharen Series (2018)<\/a><\/h6>\n

[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/4″][vc_single_image image=”13203″ img_size=”full” onclick=”custom_link” css_animation=”fade-up” css=”” full_width=”1″ hover_effect=”opacity” opacity=”100″ link=”https:\/\/dam.org\/museum\/artists_ui\/artists\/frieder-nake\/works_frieder_nake\/matrix-multiplication\/”][\/vc_column_inner][vc_column_inner width=”3\/4″ content_placement=”default” css_animation=”fade-up”][vc_column_text]<\/p>\n

Matrix multiplication (1967-68)<\/a><\/h6>\n

This portfolio is made of three separate series, which were generated from a square matrix produced by Nake on a Telefunken T4 computer. The matrix was multiplied successively by itself, creating new matrices that translated into images made of visual signs of a particular form and colour. Given that Nake used random number generation in this work during this period, the multiplication process was probably partly automated. The portfolio was published by the artist Hansj\u00f6rg Mayer in an edition of forty (Spalter Digital).[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/4″][vc_single_image image=”13015″ img_size=”full” onclick=”custom_link” css_animation=”fade-up” css=”” full_width=”” hover_effect=”opacity” opacity=”100″ link=”http:\/\/dam.org\/museum\/artists_ui\/artists\/frieder-nake\/works_frieder_nake\/walk-through-raster\/”][\/vc_column_inner][vc_column_inner width=”3\/4″ content_placement=”default” css_animation=”fade-up”][vc_column_text]<\/p>\n

Walk-Through Raster (1966)<\/a><\/h6>\n

In 1966, Nake used the Walk-through-Raster software in the ALGOL 60 programming language to create as series of computer-generated drawings on paper. The drawings were produced by a ZUSE-Graphomat Z64.<\/p>\n

The program used a repertoire of signs that were placed on a grid. A function selected one sign from the repertoire and another function selected the following sign based on the previous one and applying probability distribution. In this manner, a chain of signs was generated. The second operation of the program consisted in mapping the chain of signs into the cells of the picture plane. The first sign of the chain was put into the top left-most cell of the picture plane. The second sign of the chain was placed into the next cell, and so forth, until all signs had been put into the picture’s cells. This mapping operation was carried out according to a specific mapping mode.<\/p>\n

For a more detailed description, read this short essay by Frieder Nake<\/a>.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/4″ content_placement=”default” css_animation=”none”][vc_single_image image=”15881″ img_size=”full” onclick=”custom_link” css_animation=”fade-up” css=”” full_width=”1″ hover_effect=”opacity” opacity=”100″ link=”https:\/\/dam.org\/museum\/artists_ui\/artists\/nake-frieder\/hommage-a-paul-klee\/”][\/vc_column_inner][vc_column_inner width=”3\/4″][vc_column_text css_animation=”fade-up”]<\/p>\n

Hommage \u00e0 Paul Klee (1965-67)<\/a><\/h6>\n

This drawing is one of the most often cited in books and articles about the earliest phase of computer art (mid-1960s). It may be called an icon of the pioneering times of the digital art movement.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/4″ content_placement=”default” css_animation=”none”][vc_single_image image=”15882″ img_size=”full” onclick=”custom_link” css_animation=”fade-up” css=”” full_width=”1″ hover_effect=”opacity” opacity=”100″ link=”https:\/\/dam.org\/museum\/artists_ui\/artists\/nake-frieder\/random-polygonal-line\/”][\/vc_column_inner][vc_column_inner width=”3\/4″][vc_column_text css_animation=”fade-up”]<\/p>\n

Random polygonal line (1965)<\/a><\/h6>\n

[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/4″ content_placement=”default” css_animation=”none”][vc_single_image image=”15858″ img_size=”full” onclick=”custom_link” css_animation=”fade-up” css=”” full_width=”1″ hover_effect=”opacity” opacity=”100″ link=”https:\/\/dam.org\/museum\/artists_ui\/artists\/nake-frieder\/rectangular-hatches\/”][\/vc_column_inner][vc_column_inner width=”3\/4″][vc_column_text css_animation=”fade-up”]<\/p>\n

Rectangular hatches (1965)<\/a><\/h6>\n

[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/4″ content_placement=”default” css_animation=”none”][vc_single_image image=”13014″ img_size=”full” onclick=”custom_link” css_animation=”fade-up” css=”” full_width=”1″ hover_effect=”opacity” opacity=”100″ link=”https:\/\/dam.org\/museum\/artists_ui\/artists\/nake-frieder\/early-algorithmic-drawings\/”][\/vc_column_inner][vc_column_inner width=”3\/4″][vc_column_text css_animation=”fade-up”]<\/p>\n

Early Algorithmic Drawings\u00a0(1963-65)<\/a><\/h6>\n

[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tab][vc_tab title=”Artist’s Statement” tab_id=”1590655856642-5-3″][vc_row_inner][vc_column_inner width=”1\/4″][vc_single_image image=”13030″ img_size=”full” css=”” full_width=”1″ opacity=”100″][\/vc_column_inner][vc_column_inner width=”3\/4″][vc_column_text]There Should Be No Computer-Art<\/strong>
\nFrieder Nake
\nPage<\/em> (Bulletin of the Computer Arts Society, London) No. 18, Oct. 1971, 1-2.\u00a0(excerpt)<\/p>\n

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Computers ought not to be used for the creation of another art fashion.<\/p>\n

Questions like ” is a computer creative” or ” is a computer an artist” or the like should not be considered serious questions, period. In the light of the problems we are facing at the end of the 20th century, those are irrelevant questions.<\/p>\n

Computers can and should be used in art in order to draw attention to new circumstances and connections and to forget ” art” .<\/p>\n

There is no need for the production of more works of art, particularly no need for ” computer art” . Art (better: the aesthetic object) comes afterwards (but it does come). Aesthetic information as such is interesting only for the rich and the ruling. For the others (and they are in the majority) it comes ” with” . Namely with other information. Thus, the interest in computers and art should be the investigation of aesthetic information as part of the investi\u00b7 gation of communication. This investigation should be directed by the needs of the people.<\/p>\n

We should not be interested in producing some more nice and beautiful objects by computers. We should be interested in producing a film on, say, the distribution of wealth. Such a film is interesting because of its content; the interest in the content is enhanced by an aesthetically satisfying presentation. That is, the role of the computer in the production and presentation of semantic information which is accompanied by enough aesthetic information is meaningful; the role of the computer in the production of aesthetic information per se and for the making of profit is dangerous and senseless.<\/p>\n

[\u2026]<\/p>\n

Reiterating the argument: I don’t see a task for the computer as a source of pictures for the galleries. I do see a task for the computer as a convenient and important tool in the investigation of visual (and other) aesthetic phenomena as part of our daily experience.<\/p>\n

As concrete projects to be investigated I propose:<\/p>\n

1. The study of the alienation of the artist from his product which is caused by technology in general and by computers in particular (the distance between the artist and his work increases). What are the good, what are the bad effects of the division of labor taking place in art?<\/p>\n

2. Investigation of the repertoires of signs used by individual artists and styles in the past and present. Such repertoires have been described occasionally, but not rigorously enough. The emphasis of such a project should be to describe those repertoires (and their various levels) in a way suitable for an application of information aesthetics.<\/p>\n

3. Design and performance of experiments to test the significance of aesthetic measures defined so far; perhaps new definition of such measures.<\/p>\n

4. Investigation of the importance of aesthetic information in various areas (education, propaganda, environments of work and living). This work would have to be based on a rigorous numerical definition of “aesthetic information” .[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tab][vc_tab title=”Biography” tab_id=”1589891935-2-34″][vc_row_inner][vc_column_inner width=”1\/4″][vc_single_image image=”13014″ img_size=”full” css=”” full_width=”1″ opacity=”100″][\/vc_column_inner][vc_column_inner width=”3\/4″][vc_column_text]Stuttgart (Germany), 1938<\/p>\n

Frieder Nake studied mathematics at the Technical University of Stuttgart, where he attended Prof. Max Bense\u2019s lectures on philosophy, semiotics, and aesthetics. In 1964, he created his first computer drawings using a Zuse Graphomat Z64 to which he had access at the Computing Centre of the University. In 1965, he presented his work alongside Georg Nees<\/a> in one of the three first exhibitions of computer-generated art in history. Titled Computer-Grafik<\/em>, the show took place at the Wendelin Niedlich Galerie in Stuttgart, from November 5th to the 26th. Between 1966 and 1972 he took part in many exhibitions, among which the seminal Cybernetic Serendipity<\/em> (ICA, London, 1968), curated by Jasia Reichardt, or Proposal for an Experimental Exhibition<\/em> at the 35th Venice Biennale. In 1971 he decided not to produce any more computer art, which he considered would end up catering to the art market. Instead, he focused on research in computer art, computer graphics, and digital media at several universities, such as the University of Toronto (1968), University of Bremen (1972), University of Vienna (1988), University of Oslo (1995), University of Colorado at Boulder (1997, 1998), Northwest Institute of Mechanical and Electrical Engineering, Xian, Shaanxi, China (2000), University of Aarhus, Denmark (2000, 02, 04, 05), International School of New Media at L\u00fcbeck (2003, 05, 06, 07), University of Basel (2007), Donau-University Krems (2007, 09), and the University of Costa Rica (2009). In 1999, he co-founded with Susanne Grabowski and Matthias Krau\u00df the project compArt: a space for computer art<\/em> (later compArt: Centre of Excellence Digital Art<\/em>), a large online database dedicated to early digital art. Widely recognised as one of the \u201cthree big N\u00b4s\u201d, the pioneers who first exhibited algorithmic art in 1965 (the other two being Georg Nees<\/a> and A. Michael Noll<\/a>), Frieder Nake is a figure of reference in computer art, who continues to exhibit his work regularly as an artist represented by DAM Gallery (Berlin) while pursuing his teaching and research activities as a professor of computer science at the University of Bremen and the University of the Arts in Bremen.<\/p>\n

Frieder Nake has taken part in all the major shows on computer art. Among the most notable exhibitions are Cybernetic Serendipity<\/em> (ICA, London, 1968), curated by Jasia Reichardt; Kunst und Computer<\/em> (Viennna Sparkasse, 1969), curated by Otto Beckmann; 25 Jahre Computerkunst \u2013 Grafik, Animation und Technik<\/em> (BMW Pavilion, Munich, 1989), curated by Herbert W. Franke; Ex Machina \u2013 Fr\u00fche Computergrafik bis 1979<\/em> (Kunsthalle Bremen, 2007), curated by Wulf Herzogenrath and Barbara Nierhoff-Wielk; and Drawing with Code: Works from the Anne and Michael Spalter Collection<\/em> (DeCordova Sculpture Park and Museum, Lincoln, Massachusetts, 2011), curated by George Fifield. In 2004, a retrospective of his work took place at Kunsthalle Bremen and ZKM Karlsruhe under the title Frieder Nake: Die pr\u00e4zisen Vergn\u00fcgen<\/em>, followed by a large number of one-person shows such as compART, Algorithmus und Zufall<\/em> (DAM Gallery Berlin, 2005), Licht ins Dunkel, 25 x 50 Jahre Computerkunst<\/em> (HFK Bremen, 2013), No Message Whatsoever: Frieder Nake & Friends<\/em> (DAM Gallery, Berlin, 2013) and 79 + 364<\/em> (DAM Gallery, Berlin, 2019).[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tab][vc_tab title=”References” tab_id=”1589892115708-2-2″][vc_row_inner][vc_column_inner width=”1\/4″][vc_single_image image=”13006″ img_size=”full” css=”” full_width=”1″ opacity=”100″][\/vc_column_inner][vc_column_inner width=”3\/4″][vc_column_text]Nake, F. (1966). futura 13. computergrafik<\/em><\/a>. Stuttgart: Edition Hans-J\u00f6rg Mayer. [DE]
\n\u2013\u2013 (1971). There Should Be No Computer-Art<\/a>. Bulletin of the Computer Arts Society, London, No. 18, Oct. 1971, 1-2. \u2013 Reprinted in: A. Altena, L. van der Velden (eds.): The anthology of computer art<\/em>. Amsterdam: Sonic Acts 2006, 59-60. [EN]
\n\u2013\u2013 (2012). Construction and Intuition: Creativity in Early Computer Art<\/a>. In: McCormack, J. and d’Inverno, M. Computers and Creativity. <\/em>Berlin: Springer Verlag.
\n\u2013\u2013 (2019). Georg Nees & Harold Cohen: Re:tracing the origins of digital media<\/a>. In: O. Grau, J. Hoth & E. Wandl-Vogt (eds.) Digital Art through the Looking Glass. New strategies for archiving, collecting and preserving in digital humanities.<\/em> Donau: Donau-Universit\u00e4t, p.30. [EN]
\n\u2013\u2013 (2019). Harold Cohen. Einzigartig<\/em><\/a>. Exhibition catalogue. Berlin: DAM Gallery. [DE]<\/p>\n

Bense, M. (1965). Computergrafik bei Wendelin Niedlich<\/a>. Speech given at the opening of the exhibition Computer-Grafik<\/em>. [DE]
\n\u2013\u2013 (1965) Computergrafik<\/a>. Re-publication of the original text in Semiosis<\/em>, vol 3\/4, 1990. [DE]<\/p>\n

Munk, B. (2019). Frieder Nake. About Algorithmic Art<\/a>. Lines Fiction<\/em>. [EN]<\/p>\n

Smith, Glenn W. (2019). An Interview with Frieder Nake<\/a>. An Interview with Frieder Nake. Arts<\/em> 2019, 8(2), 69. [EN][\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tab][vc_tab title=”Publications” tab_id=”1589892524757-3-8″][vc_row_inner][vc_column_inner width=”1\/4″][vc_single_image image=”13015″ img_size=”full” css=”” full_width=”1″ opacity=”100″][\/vc_column_inner][vc_column_inner width=”3\/4″][vc_column_text]<\/p>\n

Publications (selection)<\/h6>\n

2019<\/span>
\nFrieder Nake: Harold Cohen. Einzigartig<\/em>. internal publication, 2019.<\/p>\n

2018<\/span>
\nFrieder Nake: Bieder reimt sich auch auf Mieder. Was soll man machen, wenn einer so hei\u00dft, wie er hei\u00dft? Worte zu einer Katastrophe, hier verkleidet als Nachwort oder so was. In Werner Biedermann: Mit an Sinnlichkeit grenzender Wahrscheinlichkeit.<\/em> Werkkatalog. Duisburg: Edition Kinemathek 2018. 151-155.
\nFrieder Nake: The pioneer of generative art: Georg Nees. Leonardo<\/em> 51, 3 (June 2018) 277-279.<\/p>\n

2010<\/span>
\nFrieder Nake: Paragraphs on Computer Art, Past and Present. British Computer Society, Swinton, UK.<\/p>\n

2008<\/span>
\nFrieder Nake: Review of Wulf Herzogenrath et al. (Hrsg.), Ex Machina. Fr\u00fche Computergrafik bis 1979<\/em>. (Bremen: Kunsthalle 2007).<\/p>\n

2007<\/span>
\nFrieder Nake, Susanne Grabowski, Matthias Krau\u00df: Allenthalben Algorithmen. Von \u00c4sthetik und von Zeichen, von Kunst und von Wissenschaft. In: Dieter Mersch, Michaela Ott (Hrsg.): Kunst und Wissenschaft.<\/em> M\u00fcnchen: Wilhelm Fink 2007. 195-224, 285.<\/p>\n

Frieder Nake, Das Kunstwerk im Zeitalter seiner virtuellen Reproduzierbarkeit<\/em>. FIfF Kommunikation, 24,3 (Sept. 2007) 38-41.<\/p>\n

2006<\/span>
\nFrieder Nake, Susanne Grabowski: The interface as sign and as aesthetic event. In Paul Fishwick (ed.): Aesthetic computing<\/em>. Cambridge, MA: MIT Press 2006. 53-70<\/p>\n

Frieder Nake: Das doppelte Bild. Bildwelten des Wissens. Kunsthistorisches Jahrbuch f\u00fcr Bildkritik<\/em>, 3,2 (2006) 40-50<\/p>\n

2005<\/span>
\nLeslie Mezei: Frieder Nake and Peter Weibel.<\/em> Springer Verlag, Wien\/New York, 2005.<\/p>\n

2004<\/span>
\nFrieder Nake: The Display as a Looking-Glass: Zu Ivan E. Sutherlands fr\u00fcher Vision der grafischen Datenverarbeitung. In HANS DIETER HELLIGE (Hrsg.): Geschichten der Informatik. Visionen, Paradigmen, Leitmotive<\/em>. Berlin, Heidelberg, New York: Springer 2004, 339-365<\/p>\n

2003<\/span>
\nFrieder Nake: Third culture man. In MERCEDES VILANOVA, FREDERIC CHORD\u00c1 (eds.): A mind at work. We are our questions. Heidelberg: Synchron 2003. 21-3<\/p>\n

2002<\/span>
\nFrieder Nake: Data, information, and knowledge: a semiotic view of phenoma of organization. In K. LIU, R. Clarke, P. B\u00f8gh Andersen, R. Stamper (eds.) with El-Sayed Abou-Zeid: Organizational Semiotics: Evolving a science of information systems<\/em>. Boston: Kluwer Academic Publ. 2002. 41-50<\/p>\n

Frieder Nake: Personal recollections of a distant beginning. In Linda Candy, Ernst Edmonds: Intersection and correspondence. Explorations in art and technology<\/em>. Berlin, Heidelberg, London: Springer Verlag 2002. 6-7<\/p>\n

2001<\/span>
\nFrieder Nake: Vil\u00e9m Flusser und Max Bense des Pixels angesichtig werdend. Eine \u00dcberlegung am Rande der Computergrafik. In Gottfried J\u00e4ger (Hrsg.): Fotografie denken. \u00dcber Vil\u00e9m Flussers Philosophie der Medienmoderne<\/em>. Bielefeld: Kerber 2001. 169-182 [pdf]<\/p>\n

2000<\/span>
\nGerhard Fischer, Joan Greenbaum, Frieder Nake: Return to the Garden of Eden? Learning, working, and living<\/em>. The Journ. of the Learning Sciences 9,4 (2000) 505-513<\/p>\n

Frieder Nake: Virtualit\u00e4t und Aktualit\u00e4t. \/ … and sensual extension. \/ Nachwort \u2013 Drei Beitr\u00e4ge. In S. BERNSTEIN, M. KRAUSS, F. NAKE, M. PANTALEO, B. TITZ (Hrsg.): diMension. Digital Media & Sensual Extension. Bericht \u00fcber ein Projekt.<\/em> Universit\u00e4t Bremen, Informatik (Eigendruck), Juni 2000. 44-55, 56-63, 190-198<\/p>\n

1999<\/span>
\nFrieder Nake: Daten-Dadaismus. In Gabriele Gramelsberger, Michael Klein (Hrsg.): Virtual Space Explorers \u2013 Experimente im Datenraum<\/em>. Frankfurt\/Main: Institut f\u00fcr Neue Medien 1999. 46-49<\/p>\n

Frieder Nake: Medien, die nicht fertig werden. Zur Proze\u00df-Auffassung des digitalen Mediums<\/em>. Mitteilungsblatt des Museumsverband f\u00fcr Niedersachsen und Bremen Nr. 58 (Juli 1999) 133-140<\/p>\n

1998<\/span>
\nFrieder Nake: Handschirm & Bildrad. Von einem zum anderen. Ein essayistischer Einwurf. In I. R\u00fcgge, B.Robben, E. Hornecker, F.W. Bruns (Hrsg.): Arbeiten und begreifen: Neue Mensch-Maschine-Schnittstellen<\/em>. M\u00fcnster: Lit Verlag 1998. 63-70.<\/p>\n

Frieder Nake: Work. Computers.Design. Scandinavian Journal of Information Systems<\/em> 10, 1&2, 53-59<\/p>\n

1997<\/span>
\nFrieder Nake: Die Entpuppung des instrumentalen Mediums. \u00dcber den Wandel des Bildes vom Computer, dessen gesellschaftliche Wirkung und unser Tun. FIFF Kommunikation 14,1<\/em> (M\u00e4rz 1997) 45-50<\/p>\n

1993<\/span>
\nDie ertr\u00e4gliche Leichtigkeit der Zeichen. \u00c4sthetik, Semiotik, Informatik. Agis, Baden-Baden.
\nDie pr\u00e4zisen Vergn\u00fcgen. Frieder Nake and Diethelm Stoller.<\/em> Sautter & Lackmann, Hamburg.<\/p>\n

1985<\/span>
\n20 Jahre Computergrafik. Frieder Nake. In: Umbruch \u2013 Zeitschrift f\u00fcr Kultur: \u201eSchnittstellen\u201c.<\/em> Hager, Frankfurt.<\/p>\n

1974<\/span>
\nFrieder Nake: \u00c4sthetik als Informationsverarbeitung. Grundlagen und Anwendungen der Informatik im Bereich \u00e4sthetischer Produktion und Kritik<\/em>. Springer Verlag, Wien\/ New York, 1974<\/p>\n

1972<\/span>
\nArt Ex Machina<\/em> (Portfolio). Frieder Nake u.v.m., Gilles Gheerbrant, Montr\u00e9al, Canada.<\/p>\n

1971<\/span>
\nFrieder Nake: There Should Be No Computer-Art. Page (Bulletin of the Computer Arts Society, London) No. 18, Oct. 1971, 1-2. \u2013 Reprinted in: A. Altena, L. van der Velden (eds.): The anthology of computer art<\/em>. Amsterdam: Sonic Acts 2006, 59-60.<\/p>\n

1968<\/span>
\nFrieder Nake: Erzeugung \u00e4sthetischer Objekte. In: Rul Gunzenh\u00e4user (Hrsg.), Nicht-numerische Informationsverarbeitung.<\/em> Springer Verlag, Vienna.<\/p>\n

1967<\/span>
\nFrieder Nake: Teamarbeit zwischen K\u00fcnstler und Computer. Format 11<\/em> (July 1967) 38-39. \u2013 Also in: J\u00fcrgen Claus: Expansion der Kunst<\/em>. Reinbek: Rowohlt 1970. 127-129. And also in: \u00c4sthetik als Programm. Kaleidoskopien 5<\/em> (2004) 220-225.
\nFrieder Nake u.v.m. Kunst aus dem Computer (Exakte \u00c4sthetik 5)<\/em>. Nadolski, Stuttgart.<\/p>\n

1966<\/span>
\nFrieder Nake: futura 13. Computergrafik<\/em>. Edition Hans-J\u00f6rg Mayer, Stuttgart.
\nHerstellung von zeichnerischen Darstellungen, Tonfolgen und Texten mit elektronischen Rechenanlagen<\/em>. Darmstadt.<\/p>\n

 <\/p>\n

Unpublished<\/span><\/p>\n

Frieder Nake, Susanne Grabowski: Think the image, don’t make it! On algorithmic thinking, art education, and re-coding.
\nJournal of science and technology of the arts, 9 (3), 21-31.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tab][vc_tab title=”Videos” tab_id=”1636822763461-6-2″][vc_row_inner][vc_column_inner width=”3\/4″][vc_video link=”https:\/\/vimeo.com\/645548103″][vc_video link=”https:\/\/vimeo.com\/645567574″][\/vc_column_inner][\/vc_row_inner][\/vc_tab][\/vc_tabs][\/vc_column][\/vc_row]<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"

[vc_row shift_y=”0″ z_index=”0″ el_class=”portfolio”][vc_column][vc_tabs tabs_align=”center” css_animation=”fade-up” el_class=”tab”][vc_tab title=”Frieder Nake” tab_id=”1589893367311-4-6″ el_class=”artist_portfolio_name”][vc_row_inner][vc_column_inner width=”1\/4″][vc_single_image image=”12987″ img_size=”full” css=”” full_width=”1″ opacity=”100″][\/vc_column_inner][vc_column_inner width=”3\/4″][vc_column_text]Frieder Nake is one of the three pioneering artists who showed their work in the first exhibitions of computer art in 1965. In 1971 he decided not to produce any more computer art and focused on his teaching…<\/p>\n

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