![\"mohr\"](\"http:\/\/artelectronicmedia.com\/wp-content\/uploads\/p154c1.gif\" "\\"mohr\\"")
In Cubic Limit, Manfred Mohr\u00a0introduced 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.”<\/p>\n
“The above programs developed from an earlier program “Sphereless”, P128 (1972) where I generated signs from a less complex fixed structure, the square, using it’s 4 sides and it’s 2 diagonals as the alphabet.”[1]<\/p>\n
Image on right is 60 x 60 cm, ink on paper.<\/p>\n
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The computer became a physical and intellectual extension in the process of creating my art. I write computer algorithms i.e. rules that calculate and then generate the work which could not be realized in any other way. My artistic goal is reached when a finished work can dissociate itself from its logical content and stand convincingly as an independent abstract entity.<\/p>\n
Such approaches to art have been reconsidered by contemporary artists employing digital media, including Casey Reas in his {Software} Structures<\/a> project and John Simon Jr. in Every Icon<\/a>.<\/p>\nMohr’s systemic exploration of the formal geometries parallels work by artists associated with minimalism and conceptual art, in particular Sol Lewitt’s Variations of Incomplete Open Cubes<\/a>, 1974 (right and linked entry on site). Whereas Lewitt’s analog work stipulated the condition that the variations must be able to exist as three-dimensional forms\u00a0<\/span>Mohr’s digital investigations\u00a0include all conceivable possibilities, exhaustively explored and plotted by a computer.<\/span><\/p>\n