From Exhibition Catalog: "Mane Mohr Computer Graphics -Une Esthétique Programmes" ‘Accepting that creative work Is an algorithm ‘whieh represents human behavior in a given ‘stvallon, tis natural to ask: how is such an algo- Fhe built yp, and wien precise mathematical laws could be extracted fr later use in atferent ‘circumstances? if one Is now curious enough 19 took for nie own sesthetical paramotors, he i feady to engage in an interesting line of rsear ‘These considerations fod me to use tho com putor ag @ PARTNER in my work “Tho fist step in that direction was an extended analysis of my own paintings and drawings trom the last ten years. W resulted in a surprisingly lange amount of regulates, dtorminad of cour- ‘ae by my particular aesthotical sansa, through which I wae able to establish a number of basic tiomonts that amounted to a rudimentary syntax ‘ter representing these basic constructions thvough a mathematical formalism, and setting them up in an abstract combinatorial framework, T'was in a position to realise all possible repr sentations of my algorihns. Since the most important point in appiying a Computer to solve aesthetical problems is the MATERIALGERECHTE * uso of this instrument, the research therefore should assume that old techniques of drawing and imagination are not {o be imposed on the machine (athough this would be possible), but should develop a prior! ‘2 vocabulary which integrates the computer Into the aestetic system. ‘Computer graphics In goneral are conditioned by four basio premises: 1, A PRECISE idea ofan sesthetical problem. 2. Tho noed to break this idea into parts which could be reassembled 98 a program. 8. A steady control of the computing process ‘to take full advantage of tho MACHINE — HUMAN ialoguo. 4. Tho nood forthe log ofthe events to become perceptible, ‘The loge built imo a program makes It possiblo to create a nearly Infinite number of new situa tions. This Is very important since the creation (of a form is Wnited a prior! by its author's chax ‘acteristics, of which he may be consious oF Uunconsious. t means that the exploration of & ‘ew idea leads sooner or later 1o & repetition whieh can be avoided by resorting to a compu- {er once tho basic parameters have been formu- lated. As Its possible to conceive the logic of ‘construction but not all is consequences it 's nearly an imperative to rely on a computer to ‘show this large variety of poesloiliioe: a proce- ‘duro whieh may load to diferent and perhaps ‘more Interesting answers, ying of course 0: ‘ide of normal behavior but not outside of the imposed logic At this point a new problem appears: how to choose what is 10 be kept and what is to be tojected? ‘My aesthetic eitria wore determined by a Cision not to create single forms but sets of forme, The basic parameters are the relation- ‘hips between the forms and no sesthetical value is associated to particular forms. Within thie context itis possilo to ignore the former “good" and "bad", and aosthotical decisions ARC - Musée dr Moderne dela ean be based on WERTFREIE" procedures, ‘were the totality represents a “quality of = {Quantity The fundamental consequence of this atiude i, that after @ period of tests, moditica- tions ofthe logie, and parameter exchanges, al possible results of a program have to be rigo- ‘ously accopted of final answers. CComputor graphics is a young and new way of esthetical communication; it intogrates human thinking, mechanical handling, log, new possi- Dilies of drawing, and incorruptioie precision of drawing ~ a new DUKTUS!*** “The concentration which fs necessary to esta- Dish @ logic (writing a program — that means to give a definition of al instructions that have to be done in the machine) wil elect ise in the result a8 clear construction which could be Understood by everybody and there will be leas fang less mystical bariers behind whieh the a {st can hide himest Mantred Mohr