Examples of using Bense in English and their translations into German
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Bense takes a generative aesthetic to mean:"….
Dryophthorus corticalis is regarded as vulnerable(RL3) Bense, 2002.
Bense distinguished four methods within the aesthetic synthesis.
He was a member of the Stuttgart group founded by Max Bense.
After 1984 Max Bense applied his theories of visual art to screen media.
People also translate
From 1953 to 1958 Mavignier studied at the Hochschule für Gestaltung College of Design in Ulm, Germany, with Josef Albers,Max Bense, and Max Bill.
Kawano meets Bense on the occasion of his presentation at Waseda University, Tokyo.
Heinz Gappmayr, Ernst Jandl, Gerhard Rühm, Franz Mon,the Stuttgart Group around Max Bense, Helmut Heissenbüttel and Reinhard Döhl.
Because of that, Bense argued for enlightenment and put himself into that tradition.
The debate on so called generating arts emerged in the 1960's, featuring,for example, Max Bense, Georg Nees and Frieder Nake.
Bense raised a controversy concerning mythologizing tendencies of German postwar culture.
Herein lies a reference to the theories of Max Bense, who delivered his thoughts in an important philosophical foundation for Concrete Art.
Axel Bense, CEO of the production company Mercedes-Benz Manufacturing RUS, gave an update on the progress of the construction work for the new factory.
In these years his teacher wasone of the first musicians at Montevideo's night and Bense, who wished to be a professional musician like Lamas, watched his shows to learn as much as possible.
Johannes Bense worked in Adlershof for an international solar power company, assisted a lot of visitors there and is an expert in renewable energies.
Sooner or later, within the context of their literary experiments, they all concerned themselves with the possibilities of the computer,not to mention the theoretically farsighted designs of Max Bense and Oswald Wiener.
In Dezember 2008 German Bense do his first and historic live concert trough Internet in his channel BOSSANOVALIVE 2009 represents a pivotal year in German Bense's career.
Berlin, Vice Versa 2004, 307 pp., with illustrations, ISBN 3-00-014180-4* Eckardt, Michael:"Angewandte Wissenschaftsrevison-Überschneidungen und Parallelen im Schaffen von Max Bense und Georg Klaus", in:"Grundlagenstudien aus Kybernetik und Geisteswissenschaft/ Humankybernetik", 43(2002) 4.
In July 2007 German Bense presents his show again in Buenos Aires, in the"Club Lounge Buenos Aires" and in the"Centro Cultural del Sur", as part of the"3er Encuentro de Bossa Nova en Argentina.
Hiroshi Kawano's wish to donate this unique collection to a German museum was based, no least, on the fact that it was a German philosopher of technology,Max Bense, who inspired him to continue his aesthetic research through practical work with the computer.
In December 2007 Bense participates in the 3rd edition of the"Festival Internacional Mardelbossa"(Mar del Plata, Argentina), in whee he shares the scene with outstanding Argentinian and Brazilian musicians.
Structural analysis of language===Inspired by neuroscience, informatics, and the occupation with electronic calculating machines,but also by Wittgenstein's concept of the language-game, Bense tried to put into perspective or to extend the traditional view of literature.
According to Bense the special character of a generative aesthetic consists in the fact that it permits"the methodical elaboration of unknown forms","whose methodology, however, only makes sense when in a series of images it can be recognized from the changes"27.
The Polish artist defined this from an ontological and transcendental perspective: the concept of space as the nature of being draws onsimilarities with the theories of the German philosopher Max Bense, who viewed space as a metaphysical phenomenon:"In the beginning there was the space.
Ever since being discovered by Max Bense, who in 1970 singled out his works as»urban models«, and at the very latest since his participation in the documenta 6(1977), Attila Kovács is considered as being an analytic artist more closely associated with science than with painting.
It should be recognizable instead that his work is the object of a semiotic, syntactic and thus scientific aesthetic whose central idea is not beauty, mostly experiencedthrough subjective interpretation, but an aesthetic state according to Bense that can be objectively determined and described.
In 1948, Bense fled from the political development of the Soviet occupation zone to Boppard; and he was appointed as a guest professor in philosophy and theory of science by the University of Stuttgart in 1949, and as senior lecturer(associate professor) there in 1950.
Also on view are aselection of films he made together with Georg Bense and Rainer Wössner in 1962, the groundbreaking portfolios of“Concrete Poetry International”, artist portfolios by Sigfrid Cremer or Herman de Vries, as well as the sprawling book series Collected Works by Dieter Roth and his records with rarely heard music.
As a forerunner of the computer age, Bense thought about the technical counterparts of human existence; unlike many of his contemporaries he considered machines as pure products of human intelligence, having algorithms as a basis, but soon he posed ethical questions, which were not discussed in ethics of technology until decades later.