In 1960 in Stuttgart, Max Bense published the book Programming the Beautiful [Programmierung des Sch{\"o}nen]. Bense looks in cybernetics for scientific concepts and instigates the thought of programming in the field of literature. His information aesthetics influences a whole generation of scientists and artists - including the Stuttgart Circle, which takes hold of the new aesthetics to carry out the first programmed artistic images. Is Max Bense a visionary? How is he revolutionizing the world of images? The article discusses the cybernetics that inspired Bense: a science of probability that contrasts with the principles of Newtonian physics. Moreover, in the sixties, Max Bense, together with Elisabeth Walther, launched the experimental magazine Rot, which devoted its pages to the concrete poetry and the first computer-generated images of Georg Nees. As Frieder Nake defends through his pioneering work and theory, these images oppose the visible and the computable. This dialectic opens to a critical thinking on the algorithmic image in art and science.

翻译：1960年，马克斯·本斯在斯图加特出版了《编程之美》一书。本斯从控制论中寻求科学概念，并在文学领域激发了编程思想。他的信息美学影响了一整代科学家和艺术家——包括斯图加特学派，该学派运用这一新美学创作出首批程序化艺术图像。马克斯·本斯是一位远见者吗？他如何革新图像世界？本文探讨了启发本斯的控制论：一门与牛顿物理学原理形成对比的概率科学。此外，在六十年代，马克斯·本斯与伊丽莎白·瓦尔特共同创办了实验杂志《Rot》，其版面专门刊登具体诗歌以及格奥尔格·内斯首批计算机生成的图像。正如弗里德·纳克通过其开创性工作与理论所阐释的，这些图像在可见性与可计算性之间形成对立。这种辩证法开启了对艺术与科学中算法图像的批判性思考。