Manfred Mohr, ‘P-188’, 1975-1978, bitforms gallery

In the Cubic Limit work series, Manfred Mohr introduced the cube into his work as a fixed system with which signs are generated. In the first part of this work phase (1972-76), an alphabet of signs is created from the twelve lines of a cube. In some works, statistics and rotation are used in the algorithm to generate signs. In others, combinatorial, logical and additive operators generate the global and local structures of the images.

The emergence of three-dimensional volume - specifically, moving from a square to a cube - is the focus of this picture. In this drawing, six iterations are made from start to finish using 24 lines. The starting point depicts a flat 12x12 grid. The ending point is a three-dimensional image of two interlocking cubes. To this end, the rotation of each line in the four middle steps was calculated by a computer using an algorithm written in FORTRAN by Manfred Mohr.

About Manfred Mohr

Influenced by his experience as a jazz musician and by German philosopher Max Bense’s theories on rational aesthetics, Manfred Mohr has been an innovator in the field of computer-generated art. To manipulate, for example, the myriad variations of the 11-dimension hypercube, Mohr created algorithms in FORTRAN programming language and printed them on flatbed plotters before the advent of laser printers. Mohr’s “Klangfarben” series (2008) features paintings and digital animation of brightly colored diagonal lines and intersecting planes against a flat black background.

German, b. 1938, Pforzheim, Germany