During Mohr's "Cubic Limit" phases, he introduced the cube as a fixed system with which signs are generated. In the first part of this phase (1972-1976), 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.
"P-202-A" (1977) is from the second phase of "Cubic Limit" (1976-1978), during which Mohr divided the cube into two parts by one of the Cartesian planes, or along a specific point on the coordinate plane. For each image the two partitions contain independent rotations of a cube. They are projected into two dimensions and clipped by a square window (the projection of a cube at 0,0,0 degrees). By rotating both parts of these cubes in small but different increments, long sequences of images are developed.
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