{"id":14091,"date":"2020-11-19T19:11:05","date_gmt":"2020-11-19T18:11:05","guid":{"rendered":"https:\/\/dam.org\/museum\/?post_type=artists_ui&p=14091"},"modified":"2026-09-05T14:39:40","modified_gmt":"2026-09-05T12:39:40","slug":"dimensions-ii","status":"publish","type":"artists_ui","link":"https:\/\/dam.org\/museum\/artists_ui\/artists\/mohr-manfred\/dimensions-ii\/","title":{"rendered":"Dimensions II"},"content":{"rendered":"

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\"\"<\/a><\/figure><\/div>[\/vc_column][vc_column css_animation=”fade-up” width=”1\/3″ shift_x=”0″ shift_y=”0″ z_index=”0″][vc_custom_heading text=”Dimensions II (1986-1989)” use_theme_fonts=”yes” css=”” font_size=”16″ text_align=”left” font_weight=”600″][vc_column_text]<\/p>\n
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In this work phase, the four-dimensional rotation of a hyper-cube becomes an additional element in generating signs and shapes. A four-dimensional hyper-cube can also be seen as a structural relationship of eight interconnected cubes. In this particular work, each of these eight cubes are looked at through a square window (the 0,0,0 rotation of each cube). Four of the cubes are represented by their frontal view (black) and four by their back (grey). This partitioning of black or grey is a combinatorial element in the algorithm of this work.<\/p>\n<\/div>\n<\/div>\n

[\/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)<\/a>
\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)
\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_column][vc_column css_animation=”fade-up” width=”1\/3″ shift_x=”0″ shift_y=”0″ z_index=”0″][vc_custom_heading text=”Dimensions II (1986-1989)” use_theme_fonts=”yes” css=”” font_size=”16″ text_align=”left” font_weight=”600″][vc_column_text] In this work phase, the four-dimensional rotation of a hyper-cube becomes an additional element in generating signs and shapes. A four-dimensional hyper-cube can also be seen as a structural relationship of eight interconnected cubes. In this particular work, each of…<\/p>\n

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