tim/vortac on Warpcast

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Manfred Mohr „Vom Rhythmus zum Algorithmus“ (From Rhythm to Algorithm), German/English edition, Modo 2017 Exhibition catalogue – the book was published on the occasion of the self-titled retrospective exhibition (spanning roughly 5 decades) in Mohr’s city of birth, Pforzheim (South-West Germany) The title gives a hint on Mohr’s artistic background as well as his artistic development from a Tachysm/Hard-Edge painter to an early artist working with the computer and algorithms. But also from being a sought-after jazz musician to becoming a full-time visual artist and a pioneer of digital art. A 🧵 — 1/4

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Manfred Mohr — 2/4 Mohr studied Art and Design, first in Pforzheim and then in Barcelona after receiving a scholarship. Afterwards he relocated to Paris and finally to New York in 1981. Mohr started as a classic abstract painter at the beginning of the 60s. His early tempera on canvas works were inspired by fellow German "Art Informel" painter K.R.H. Sonderborg. Over the years his style became more graphical and transformed into geometric hard-edge paintings that freed themselves even more from being representations of anything than the signs and symbols themselves. L: g63007, tempera on canvas, 1963 R: Konkreter Text, temera on canvas, 1967

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Manfred Mohr — 3/4 Inspired by his friendships with French composer Pierre Barbaud and German philosopher Max Bense, Mohr learned the FORTRAN programming language and started to use the computer to generate his works by algorithms. He was able to use the data center at the French National Institute for Meteorology, where Vera Molnár would create much of her works as well. Really interesting is, that in contrast to other pioneers like Frieder Lake or Georg Nees, Mohr did not have a computer-engineer or mathematical background, but turned to the computer as a logical consequence in the pursuit of his artistic vision. He already was a well-received painter and had to face a lot of headwinds now solely using the computer to „produce“ his art. L: Inversion logique II, computer-generated and plotted on paper, 1970 R: Divisibility II, acrylic on wood, 1984

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Manfred Mohr — 4/4 Having worked in a binary color palette, black and white, for almost 30 years and being fixated to exploring the cube and hypercube since the 70s, Mohr switched to using color at the turn of the millennium. He never made any explicit color choices for shapes, but let the computer pick from a palette, much as how most artists do it today in long-form generative art. L: space.color, pigment on canvas, 2000–2007 R: space.color.motion, program P-777, on-screen work, 2002–2016

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Marius Watz pfp

Love this. Mohr’s hypercubes are *mwah*. 💎50 $DEGEN

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æther pfp

Beautiful thread, Tim!

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Pixel Symphony pfp

Ah this is an absolute find! Gorgeous, Tim! 223 $DEGEN

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Marc Maurer pfp

Thanks for sharing, Tim! 30 $degen

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visiophone pfp

Great one. Mohr's random walks series are still some of my favourite pieces ever. P.18 is a perfect one. 20 $DEGEN

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nbswwit pfp

So good! 🤤 🤤 🤤

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NftBiker pfp

It seems to be a great book ! 100 $degen

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Todemashi pfp

This book looks really nice! All the works on the pages you shared are brilliant! 🤩 250 $degen

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@daturascore.eth

thanks for sharing this! 👁️ 🎭

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Ateliê 407 🌈🎩Ⓜ️

Great week Tim 200 $farther

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Asha 🎩Ⓜ️

Fascinating! Love the showcased works 😍 Thanks for sharing, Tim! 🔥 88 $DEGEN

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p.i.x.e.l.l.a.r.e.

bello,, grazie❣️ 🎭

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dennis chilas pfp

oh this looks cool! 100 $degen

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