{"id":14041,"date":"2020-11-19T16:17:53","date_gmt":"2020-11-19T15:17:53","guid":{"rendered":"https:\/\/dam.org\/museum\/?post_type=artists_ui&p=14041"},"modified":"2020-12-28T20:22:20","modified_gmt":"2020-12-28T19:22:20","slug":"parallel-resonance","status":"publish","type":"artists_ui","link":"https:\/\/dam.org\/museum\/artists_ui\/artists\/mohr-manfred\/parallel-resonance\/","title":{"rendered":"parallelResonance"},"content":{"rendered":"

[vc_row][vc_column width=”2\/3″][vc_gallery type=”image_grid” hover_effect=”opacity” images=”14042,14043,14044,14045″ img_size=”medium” css=”” css_animation=”fade-up”][\/vc_column][vc_column width=”1\/3″ shift_x=”0″ shift_y=”0″ z_index=”0″ css_animation=”fade-up”][vc_custom_heading text=”parallelResonance (2009-2011)” use_theme_fonts=”yes” css=”” font_size=”16″ text_align=”left” font_weight=”600″][vc_column_text]Inspired by his exploration of a \u201csurrealistic geometry\u201d in the mid 1960s, which consisted in exploring the tension fields created by the voids between geometric elements in a visual composition, Mohr develops the same principle in this series through an algorithm. Here, two randomly selected and superimposed 11-dimensional diagonal-paths describe white and black forms, projected on a colored background. At times, the black form interchanges its color with the background to further create new visual relatins in form and tension fields.[\/vc_column_text][vc_column_text]More works<\/strong><\/p>\n

algorithmic modulations (2019)<\/a>
\nTransit-Code (2017-2018)<\/a>
\nArtificiata II (2012-2015)<\/a>
\nparallelResonance (2009-2011)
\nklangfarben (2006-2007)<\/a>
\nsubsets.motion (2003-2005)<\/a>
\nsubsets (2003-2005)<\/a>
\nspace.color.motion (2002-2004)<\/a>
\nspace.color (1999-2003)<\/a>
\nHalf Planes (1995-1998)<\/a>
\nCounterpoint (1993-1995)<\/a>
\nLaserglyphs (1990-1993)<\/a>
\nLine cluster (1989-1990)<\/a>
\nDimensions II (1986-1989)<\/a>
\nDivisibility II + III (1984-1986)<\/a>
\nDivisibility I (1980-1984)<\/a>
\nDimensions I (1977-1979)<\/a>
\nCubic limit II (1976-1977)<\/a>
\nCubic limit I (1973-1976)<\/a>
\nEarly algorithms (1969-1973)<\/a>
\nHard edge (1966-1969)<\/a>
\nEarly work (1960-1966)<\/a>[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"

[vc_row][vc_column width=”2\/3″][vc_gallery type=”image_grid” hover_effect=”opacity” images=”14042,14043,14044,14045″ img_size=”medium” css=”” css_animation=”fade-up”][\/vc_column][vc_column width=”1\/3″ shift_x=”0″ shift_y=”0″ z_index=”0″ css_animation=”fade-up”][vc_custom_heading text=”parallelResonance (2009-2011)” use_theme_fonts=”yes” css=”” font_size=”16″ text_align=”left” font_weight=”600″][vc_column_text]Inspired by his exploration of a \u201csurrealistic geometry\u201d in the mid 1960s, which consisted in exploring the tension fields created by the voids between geometric elements in a visual composition, Mohr develops the same principle in…<\/p>\n

Continue reading<\/span><\/a><\/p>\n","protected":false},"featured_media":0,"parent":12827,"menu_order":0,"template":"","format":"standard","categories":[],"class_list":["post-14041","artists_ui","type-artists_ui","status-publish","format-standard","hentry","entry","clearfix","entry-grid","entry-columns-default","entry-artists_ui-module-layout-standard","no-post-thumbnail","entry-artists_ui","entry-artists_ui-grid"],"_links":{"self":[{"href":"https:\/\/dam.org\/museum\/wp-json\/wp\/v2\/artists_ui\/14041","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/dam.org\/museum\/wp-json\/wp\/v2\/artists_ui"}],"about":[{"href":"https:\/\/dam.org\/museum\/wp-json\/wp\/v2\/types\/artists_ui"}],"up":[{"embeddable":true,"href":"https:\/\/dam.org\/museum\/wp-json\/wp\/v2\/artists_ui\/12827"}],"wp:attachment":[{"href":"https:\/\/dam.org\/museum\/wp-json\/wp\/v2\/media?parent=14041"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/dam.org\/museum\/wp-json\/wp\/v2\/categories?post=14041"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}