Abstract:In the process of discovering form, art is not only oriented toward organic nature, but also toward mathematical models of it. Ever since Fibonacci numbers were introduced (see Peter Weibel on Fritz Hartlauer), art has become increasingly involved with numerical models of form growth (see ftienne B^othy's theory of the "golden row," 1919). The models are thus imbued with meaning far beyond the actual realm of biology. In addition, Friedrich Kiesler's design theory is defined in biotechnical terms.An essential … Show more
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