I think that computer graphics do open new issues of design, in the sense that "things" and contexts of great and almost incomprehen sible complexity - as can be recognized with intuition, may be envisioned, but remain untouched by human hands and unthinkable to the unprepared mind - may become acessible to the human eye and thus comprehension, and therefore computer graphics may become a radically new means of expression for intuitive understanding. A change of paradigmas in fine arts. But is it the "right" way, too?

Our theme is the hereditary trans mission of structures and shapes, their seemingly uncontrolled and incidental mutation, the accidental appearance of species and their more or less successful degeneration into new ones (selection). Evolution does not mean rough spreading to remote and vague aims, but is rather directed towards the "interior" It is sublime refinement, leading to definite shapes, but in eternal and infinite ways.
The whole process of evolution, accidental and arbitrary as it may seem, is nevertheless governed by divine law in a world where shadow is depicted here. (R. Tomaschitz)

Technical background:

The three works were realized on an IBM 3081 (VM/CMS, MUS) and an HP 9872 Color Plotter with GDDM and GKS software.

Roman Tomaschitz, born 1959 in Klagenfurt/Carinthia. After graduation from High School in St. Veit/Glan (Austria) Roman Tomaschitz started studying mathematics, physics and astronomy at Vienna University. 1984 Diploma in physics and mathematics. 1985–88 dissertation at Julich Nuclear Research Unit (Germany). Doctorate in 1988. Roman Tomaschitz's interests are located mainly in the area of interdisciplinary research and in modelling (computer graphics, Artificial Intelligence, biology, medicine, ecology).