[{"data":1,"prerenderedAt":158},["ShallowReactive",2],{"post-en-manfred-mohr-a-pioneer-of-computer-art":3,"translation-en-manfred-mohr-a-pioneer-of-computer-art":157},["Reactive",4],{"id":5,"date":6,"date_gmt":7,"guid":8,"modified":10,"modified_gmt":11,"slug":12,"status":13,"type":14,"link":15,"title":16,"content":18,"excerpt":21,"author":23,"featured_media":24,"comment_status":25,"ping_status":25,"sticky":20,"template":26,"format":27,"meta":28,"categories":29,"tags":31,"class_list":33,"_links":41,"_embedded":82,"tagsResolved":143,"translations":144},529,"27. 03. 2016","2016-03-27T00:00:00",{"rendered":9},"https:\u002F\u002Fjakubferenc.cz\u002Farticle\u002Fmanfred-mohr-prukopnik-pocitacoveho-umeni","2025-07-05T13:41:26","2025-07-05T11:41:26","manfred-mohr-prukopnik-pocitacoveho-umeni","publish","post","https:\u002F\u002Fcms.local.test\u002Fmanfred-mohr-prukopnik-pocitacoveho-umeni\u002F",{"rendered":17},"Manfred Mohr: průkopník počítačového umění",{"rendered":19,"protected":20},"\u003Cp>\u003Cspan style=\"font-weight:400\">Německý umělec Manfred Mohr patří k prvním průkopníkům počítačového umění. Jako jazzový hudebník a klasicky vzdělaný vizuální umělec nejdříve čerpal z hard-edge abstraktní malby. V roce 1967 v jeho umělecké praxi ale přišel zvrat poté, co si vyslechl přednášku francouzského skladatele Pierra Barbauda na téma využití algoritmické kompozice. Na začátku šedesátých let byl Mohr také výrazněn ovlivněn filosofií umění a estetikou německého filosofa Maxe Bense. Bense sám byl vysoce interdisciplinárně zaměřeným člověkem, pro svou teorii \u003C\u002Fspan>\u003Ci>\u003Cspan style=\"font-weight:400\">racionální estetiky\u003C\u002Fspan>\u003C\u002Fi>\u003Cspan style=\"font-weight:400\"> čerpal ze zásadních prací své doby jako např. kybernetika Norberta Wienera, Shannonova teorie informace či Birkhoffova snaha kvantifikovat estetickou krásu díla pomocí měření vztahu uspořádanosti a komplexity. Bense je považován za tvůce konceptu \u003C\u002Fspan>\u003Ci>\u003Cspan style=\"font-weight:400\">informační estetiky. \u003C\u002Fspan>\u003C\u002Fi>\u003Cspan style=\"font-weight:400\">Bensova racionální estetika \u003C\u002Fspan>\u003Cspan style=\"font-weight:400\">Mohra transformovala a od abstraktního expresionismu se uchýlil k počítačovému umění založeném na algoritmické konstrukci geometrických tvarů.\u003C\u002Fspan>\u003C\u002Fp>\n\u003Cdiv class=\"image\">\n\u003Cp>\u003Cimg decoding=\"async\" alt=\"P-197-N\u002FR801, 1977\" class=\"alignnone wp-image-705\" height=\"499\" loading=\"lazy\" sizes=\"auto, (max-width: 495px) 100vw, 495px\" src=\"http:\u002F\u002Fwww.jakubferenc.cz\u002Fwordpress\u002Fwp-content\u002Fuploads\u002F2016\u002F03\u002FBez-názvu-1.jpg\" srcset=\"https:\u002F\u002Fwww.jakubferenc.cz\u002Fwordpress\u002Fwp-content\u002Fuploads\u002F2016\u002F03\u002FBez-názvu-1.jpg 495w, https:\u002F\u002Fwww.jakubferenc.cz\u002Fwordpress\u002Fwp-content\u002Fuploads\u002F2016\u002F03\u002FBez-názvu-1-150x150.jpg 150w, https:\u002F\u002Fwww.jakubferenc.cz\u002Fwordpress\u002Fwp-content\u002Fuploads\u002F2016\u002F03\u002FBez-názvu-1-298x300.jpg 298w\" width=\"495\">\u003C\u002Fp>\n\u003Cdiv class=\"image-description\">\n\u003Cp>\u003Cstrong>P-197-N\u002FR801, 1977\u003C\u002Fstrong>\u003Cbr \u002F>\nPlotter drawing ink on paper\u003C\u002Fp>\n\u003Cp>zdroj: \u003Ca href=\"http:\u002F\u002Fwww.bitforms.com\u002Fmohr\u002Fp-026f-inversion-logique\">http:\u002F\u002Fwww.bitforms.com\u002Fmohr\u002Fp-026f-inversion-logique\u003C\u002Fa>\u003C\u002Fp>\n\u003C\u002Fdiv>\n\u003C\u002Fdiv>\n\u003Cdiv class=\"image\">\n\u003Cp>\u003Ciframe allowfullscreen=\"\" frameborder=\"0\" height=\"750\" loading=\"lazy\" src=\"https:\u002F\u002Fplayer.vimeo.com\u002Fvideo\u002F67598990\" width=\"1000\">\u003C\u002Fiframe>\u003C\u002Fp>\n\u003Cdiv class=\"image-description\">\n\u003Cp>Manfred Mohr „Cubic Limit,“ 1973-74 Digital transfer of 16mm film 4 min\u003C\u002Fp>\n\u003C\u002Fdiv>\n\u003C\u002Fdiv>\n\u003Cp>\u003Cspan style=\"font-weight:400\">Algoritmizace uměleckého procesu byla pro Mohra ideální prostředek, jak naplnit Bensovy myšlenky racionalizace umění: Mohr podnikl analýzu svého estetického stylu z posledních deseti let a jak vlastními slovy píše, našel překvapivě mnoho pravidelností a vzorců. Z těch vytvořil syntax, tedy pravidla pro kombinaci jednotlivých elementů, jež následně matematiky popsal, což mu umožnilo takto formalizovaný vlastní „umělecký styl“ převést do algoritmu v programovacím jazyce.\u003C\u002Fspan>\u003C\u002Fp>\n\u003Cblockquote>\n\u003Cp>\u003Cspan style=\"font-weight:400\">„The first step in that direction was an extended analysis of my own paintings and drawings from the last ten years. It resulted in a surprisingly large amount of regularities, determined of course by my particular aesthetical sense, through which I was able to establish a number of basic elements that amounted to a rudimentary syntax. After representing these basic constructions through a mathematical formalism, and setting them up in an abstract combinatorial framework, I was in a position to realize all possible representations of my algorithms.” (Mohr 1971)\u003C\u002Fspan>\u003C\u002Fp>\n\u003C\u002Fblockquote>\n\u003Cp>\u003Cspan style=\"font-weight:400\">Mohr zmiňuje v jednom z rozhovorů\u003C\u002Fspan>\u003Cspan style=\"font-weight:400\">, že v 70. letech dvacátého století bylo při zrodu počítačového umění nejsložitější se vůbec k nějakému počítači dostat. Mohr vysvětluje, že jeho první díla vznikala na mainframovém počítači, který byl ve vlastnictví metereologického institutu v Paříži. Mohrovi bylo dovoleno po večerech na počítači pracovat také proto, že tehdejší ministr zodpovědný za povolení měl pro Mohra pochopení, jelikož v mládím byl sám praktikujícím umělcem.\u003C\u002Fspan>\u003C\u002Fp>\n\u003Cp>\u003Cspan style=\"font-weight:400\">Mohrův vizuální styl se dále vyznačoval tím, že používal pouze dvě barvy: černou a bílou. Tato volba doplňuje celkovou binárnost jeho tvorby, Mohr ale uvádí, že se pouze pro dvě barvy rozhodnul ještě dříve, než se začal věnovat počítačovému umění kvůli tomu, že chtěl, aby dílo bylo hodnoceno na základě tvaru, nikoli barvy. Jeho pozdější tvorba ale již barev využívá.\u003C\u002Fspan>\u003C\u002Fp>\n\u003Cp>\u003Cspan style=\"font-weight:400\">V posledních čtyřiceti letech Mohr dále zkoumá estetiku generativního umění. Za jakousi šablonu, ze které jeho díla vycházejí, mu slouží vícedimenzionální krychle, jež, s odkazem na Bense, zobrazuje matematickou pravdu a koncept objektivní krásy (Klutch 2012, s. 79).\u003C\u002Fspan>\u003C\u002Fp>\n\u003Cdiv class=\"image\">\n\u003Cp>\u003Ca href=\"http:\u002F\u002Fwww.jakubferenc.cz\u002Fwordpress\u002Fwp-content\u002Fuploads\u002F2016\u002F03\u002FBez-názvu-2.jpg\">\u003Cimg decoding=\"async\" alt=\"\" class=\"alignnone wp-image-708 size-full\" height=\"571\" loading=\"lazy\" sizes=\"auto, (max-width: 588px) 100vw, 588px\" src=\"http:\u002F\u002Fwww.jakubferenc.cz\u002Fwordpress\u002Fwp-content\u002Fuploads\u002F2016\u002F03\u002FBez-názvu-2.jpg\" srcset=\"https:\u002F\u002Fwww.jakubferenc.cz\u002Fwordpress\u002Fwp-content\u002Fuploads\u002F2016\u002F03\u002FBez-názvu-2.jpg 588w, https:\u002F\u002Fwww.jakubferenc.cz\u002Fwordpress\u002Fwp-content\u002Fuploads\u002F2016\u002F03\u002FBez-názvu-2-300x291.jpg 300w\" width=\"588\">\u003C\u002Fa>\u003C\u002Fp>\n\u003Cdiv class=\"image-description\">\n\u003Cp>\u003Cstrong>P-1611-6_10, 2012\u003C\u002Fstrong>\u003Cbr \u002F>\nPigment-ink on canvas\u003C\u002Fp>\n\u003Cp>zdroj: \u003Ca href=\"http:\u002F\u002Fwww.bitforms.com\u002Fmohr\u002Fp-1611-6_10\">http:\u002F\u002Fwww.bitforms.com\u002Fmohr\u002Fp-1611-6_10\u003C\u002Fa>\u003C\u002Fp>\n\u003C\u002Fdiv>\n\u003C\u002Fdiv>\n\u003Cp> \u003C\u002Fp>\n\u003Cp>\u003Cspan style=\"font-weight:400\">Zdroje:\u003C\u002Fspan>\u003C\u002Fp>\n\u003Cp>\u003Cspan style=\"font-weight:400\">KLUTSCH, Christoph a (eds.). 2012. Information Aesthetics And The Stuttgart School. In: B HIGGINS, Hannah a Douglas KAHN. \u003C\u002Fspan>\u003Ci>\u003Cspan style=\"font-weight:400\">Mainframe Experimentalism: Early Computing and the Foundations of the Digital Arts\u003C\u002Fspan>\u003C\u002Fi>\u003Cspan style=\"font-weight:400\">. California: University of California Press, s. 65-89. ISBN 0520268385.\u003C\u002Fspan>\u003C\u002Fp>\n\u003Cp>\u003Cspan style=\"font-weight:400\">MOHR, Manfred. 1971. Artist’s Statement. In: \u003C\u002Fspan>\u003Ci>\u003Cspan style=\"font-weight:400\">Manfred Mohr Computer Graphics — Une Esthétique Programmée\u003C\u002Fspan>\u003C\u002Fi>\u003Cspan style=\"font-weight:400\">. Paris: ARC — Musée d’Art Moderne de la Ville de Paris. Dostupné také z: \u003C\u002Fspan>\u003Ca href=\"http:\u002F\u002Fwww.emohr.com\u002Fww1_out.html\">\u003Cspan style=\"font-weight:400\">http:\u002F\u002Fwww.emohr.com\u002Fww1_out.html\u003C\u002Fspan>\u003C\u002Fa>\u003C\u002Fp>\n\u003Cp>\u003Cspan style=\"font-weight:400\">Salon | Artist Talk | The Algorithm of Manfred Mohr. 1963 — Now. In: \u003C\u002Fspan>\u003Ci>\u003Cspan style=\"font-weight:400\">Youtube \u003C\u002Fspan>\u003C\u002Fi>\u003Cspan style=\"font-weight:400\">[online]. 18. 03. 2016 [vid. 2013-06-18]. Kanál uživatele \u003C\u002Fspan>\u003Ca href=\"https:\u002F\u002Fwww.youtube.com\u002Fchannel\u002FUCBtGVupR621ytCdSG-z7jqQ\">\u003Cspan style=\"font-weight:400\">Art Basel\u003C\u002Fspan>\u003C\u002Fa>\u003Cspan style=\"font-weight:400\">. Dostupné z: http:\u002F\u002Fwww.youtube.com\u002Fwatch?feature=player_embedded&v=aN1JcfRc6Xs#!\u003C\u002Fspan>\u003C\u002Fp>\n",false,{"rendered":22,"protected":20},"\u003Cp>Německý umělec Manfred Mohr patří k prvním průkopníkům počítačového umění. Jako jazzový hudebník a klasicky vzdělaný vizuální umělec nejdříve čerpal z hard-edge abstraktní malby. V roce 1967 v jeho umělecké praxi ale přišel zvrat poté, co si vyslechl přednášku francouzského skladatele Pierra Barbauda na téma využití algoritmické kompozice. Na začátku šedesátých let byl Mohr také 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Mohr: A Pioneer of Computer Art","manfred-mohr-a-pioneer-of-computer-art","The German artist Manfred Mohr, inspired by Max Bense’s rational aesthetics, turned his own style into algorithms and became one of the first pioneers of computer art.",{"title":150,"slug":151,"description":152},"Manfred Mohr: pionero del arte por ordenador","manfred-mohr-pionero-del-arte-por-ordenador","El artista alemán Manfred Mohr, inspirado por la estética racional de Max Bense, convirtió su propio estilo en algoritmos y fue uno de los primeros pioneros del arte por ordenador.",{"title":154,"slug":155,"description":156},"Manfred Mohr : un pionnier de l’art par ordinateur","manfred-mohr-un-pionnier-de-l-art-par-ordinateur","L’artiste allemand Manfred Mohr, inspiré par l’esthétique rationnelle de Max Bense, a traduit son propre style en algorithmes et fut l’un des premiers pionniers de l’art par ordinateur.","\u003Cp>\u003Cspan style=\"font-weight:400\">The German artist Manfred Mohr is one of the first pioneers of computer art. As a jazz musician and a classically trained visual artist, he first drew on hard-edge abstract painting. In 1967, however, a turn came in his artistic practice after he heard a lecture by the French composer Pierre Barbaud on the use of algorithmic composition. In the early sixties Mohr was also strongly influenced by the philosophy of art and the aesthetics of the German philosopher Max Bense. Bense himself was a highly interdisciplinary person; for his theory of \u003C\u002Fspan>\u003Ci>\u003Cspan style=\"font-weight:400\">rational aesthetics\u003C\u002Fspan>\u003C\u002Fi>\u003Cspan style=\"font-weight:400\"> he drew on the seminal works of his time, such as Norbert Wiener’s cybernetics, Shannon’s information theory or Birkhoff’s effort to quantify the aesthetic beauty of a work by measuring the relation between order and complexity. Bense is considered the creator of the concept of \u003C\u002Fspan>\u003Ci>\u003Cspan style=\"font-weight:400\">information aesthetics. \u003C\u002Fspan>\u003C\u002Fi>\u003Cspan style=\"font-weight:400\">Bense’s rational aesthetics \u003C\u002Fspan>\u003Cspan style=\"font-weight:400\">transformed Mohr, and he turned away from abstract expressionism to computer art based on the algorithmic construction of geometric shapes.\u003C\u002Fspan>\u003C\u002Fp>\n\u003Cdiv class=\"image\">\n\u003Cp>\u003Cimg decoding=\"async\" alt=\"P-197-N\u002FR801, 1977\" class=\"alignnone wp-image-705\" height=\"499\" loading=\"lazy\" sizes=\"auto, (max-width: 495px) 100vw, 495px\" src=\"http:\u002F\u002Fwww.jakubferenc.cz\u002Fwordpress\u002Fwp-content\u002Fuploads\u002F2016\u002F03\u002FBez-názvu-1.jpg\" srcset=\"https:\u002F\u002Fwww.jakubferenc.cz\u002Fwordpress\u002Fwp-content\u002Fuploads\u002F2016\u002F03\u002FBez-názvu-1.jpg 495w, https:\u002F\u002Fwww.jakubferenc.cz\u002Fwordpress\u002Fwp-content\u002Fuploads\u002F2016\u002F03\u002FBez-názvu-1-150x150.jpg 150w, https:\u002F\u002Fwww.jakubferenc.cz\u002Fwordpress\u002Fwp-content\u002Fuploads\u002F2016\u002F03\u002FBez-názvu-1-298x300.jpg 298w\" width=\"495\">\u003C\u002Fp>\n\u003Cdiv class=\"image-description\">\n\u003Cp>\u003Cstrong>P-197-N\u002FR801, 1977\u003C\u002Fstrong>\u003Cbr \u002F>\nPlotter drawing ink on paper\u003C\u002Fp>\n\u003Cp>source: \u003Ca href=\"http:\u002F\u002Fwww.bitforms.com\u002Fmohr\u002Fp-026f-inversion-logique\">http:\u002F\u002Fwww.bitforms.com\u002Fmohr\u002Fp-026f-inversion-logique\u003C\u002Fa>\u003C\u002Fp>\n\u003C\u002Fdiv>\n\u003C\u002Fdiv>\n\u003Cdiv class=\"image\">\n\u003Cp>\u003Ciframe allowfullscreen=\"\" frameborder=\"0\" height=\"750\" loading=\"lazy\" src=\"https:\u002F\u002Fplayer.vimeo.com\u002Fvideo\u002F67598990\" width=\"1000\">\u003C\u002Fiframe>\u003C\u002Fp>\n\u003Cdiv class=\"image-description\">\n\u003Cp>Manfred Mohr “Cubic Limit,” 1973-74 Digital transfer of 16mm film 4 min\u003C\u002Fp>\n\u003C\u002Fdiv>\n\u003C\u002Fdiv>\n\u003Cp>\u003Cspan style=\"font-weight:400\">The algorithmisation of the artistic process was for Mohr the ideal means of fulfilling Bense’s ideas of the rationalisation of art: Mohr undertook an analysis of his aesthetic style over the previous ten years and, as he writes in his own words, found a surprising number of regularities and patterns. From these he created a syntax, that is, rules for combining the individual elements, which he then described mathematically, which allowed him to turn his own “artistic style”, formalised in this way, into an algorithm in a programming language.\u003C\u002Fspan>\u003C\u002Fp>\n\u003Cblockquote>\n\u003Cp>\u003Cspan style=\"font-weight:400\">“The first step in that direction was an extended analysis of my own paintings and drawings from the last ten years. It resulted in a surprisingly large amount of regularities, determined of course by my particular aesthetical sense, through which I was able to establish a number of basic elements that amounted to a rudimentary syntax. After representing these basic constructions through a mathematical formalism, and setting them up in an abstract combinatorial framework, I was in a position to realize all possible representations of my algorithms.” (Mohr 1971)\u003C\u002Fspan>\u003C\u002Fp>\n\u003C\u002Fblockquote>\n\u003Cp>\u003Cspan style=\"font-weight:400\">Mohr mentions in one of his interviews\u003C\u002Fspan>\u003Cspan style=\"font-weight:400\"> that in the 1970s, at the birth of computer art, the hardest thing was to get access to a computer at all. Mohr explains that his first works were made on a mainframe computer owned by the meteorological institute in Paris. Mohr was allowed to work on the computer in the evenings partly because the minister then responsible for the permission was sympathetic to Mohr, having himself been a practising artist in his youth.\u003C\u002Fspan>\u003C\u002Fp>\n\u003Cp>\u003Cspan style=\"font-weight:400\">Mohr’s visual style was further marked by his use of only two colours: black and white. This choice complements the overall binary nature of his work, but Mohr states that he decided on only two colours even before he took up computer art, because he wanted the work to be judged on the basis of form, not colour. His later work, however, does use colour.\u003C\u002Fspan>\u003C\u002Fp>\n\u003Cp>\u003Cspan style=\"font-weight:400\">Over the last forty years Mohr has continued to explore the aesthetics of generative art. As a kind of template from which his works proceed, he uses the multidimensional cube, which, with reference to Bense, represents mathematical truth and the concept of objective beauty (Klutsch 2012, p. 79).\u003C\u002Fspan>\u003C\u002Fp>\n\u003Cdiv class=\"image\">\n\u003Cp>\u003Ca href=\"http:\u002F\u002Fwww.jakubferenc.cz\u002Fwordpress\u002Fwp-content\u002Fuploads\u002F2016\u002F03\u002FBez-názvu-2.jpg\">\u003Cimg decoding=\"async\" alt=\"\" class=\"alignnone wp-image-708 size-full\" height=\"571\" loading=\"lazy\" sizes=\"auto, (max-width: 588px) 100vw, 588px\" src=\"http:\u002F\u002Fwww.jakubferenc.cz\u002Fwordpress\u002Fwp-content\u002Fuploads\u002F2016\u002F03\u002FBez-názvu-2.jpg\" srcset=\"https:\u002F\u002Fwww.jakubferenc.cz\u002Fwordpress\u002Fwp-content\u002Fuploads\u002F2016\u002F03\u002FBez-názvu-2.jpg 588w, https:\u002F\u002Fwww.jakubferenc.cz\u002Fwordpress\u002Fwp-content\u002Fuploads\u002F2016\u002F03\u002FBez-názvu-2-300x291.jpg 300w\" width=\"588\">\u003C\u002Fa>\u003C\u002Fp>\n\u003Cdiv class=\"image-description\">\n\u003Cp>\u003Cstrong>P-1611-6_10, 2012\u003C\u002Fstrong>\u003Cbr \u002F>\nPigment-ink on canvas\u003C\u002Fp>\n\u003Cp>source: \u003Ca href=\"http:\u002F\u002Fwww.bitforms.com\u002Fmohr\u002Fp-1611-6_10\">http:\u002F\u002Fwww.bitforms.com\u002Fmohr\u002Fp-1611-6_10\u003C\u002Fa>\u003C\u002Fp>\n\u003C\u002Fdiv>\n\u003C\u002Fdiv>\n\u003Cp> \u003C\u002Fp>\n\u003Cp>\u003Cspan style=\"font-weight:400\">Sources:\u003C\u002Fspan>\u003C\u002Fp>\n\u003Cp>\u003Cspan style=\"font-weight:400\">KLUTSCH, Christoph. 2012. Information Aesthetics And The Stuttgart School. In: B HIGGINS, Hannah and Douglas KAHN (eds.). \u003C\u002Fspan>\u003Ci>\u003Cspan style=\"font-weight:400\">Mainframe Experimentalism: Early Computing and the Foundations of the Digital Arts\u003C\u002Fspan>\u003C\u002Fi>\u003Cspan style=\"font-weight:400\">. California: University of California Press, pp. 65-89. ISBN 0520268385.\u003C\u002Fspan>\u003C\u002Fp>\n\u003Cp>\u003Cspan style=\"font-weight:400\">MOHR, Manfred. 1971. Artist’s Statement. In: \u003C\u002Fspan>\u003Ci>\u003Cspan style=\"font-weight:400\">Manfred Mohr Computer Graphics — Une Esthétique Programmée\u003C\u002Fspan>\u003C\u002Fi>\u003Cspan style=\"font-weight:400\">. Paris: ARC — Musée d’Art Moderne de la Ville de Paris. Also available at: \u003C\u002Fspan>\u003Ca href=\"http:\u002F\u002Fwww.emohr.com\u002Fww1_out.html\">\u003Cspan style=\"font-weight:400\">http:\u002F\u002Fwww.emohr.com\u002Fww1_out.html\u003C\u002Fspan>\u003C\u002Fa>\u003C\u002Fp>\n\u003Cp>\u003Cspan style=\"font-weight:400\">Salon | Artist Talk | The Algorithm of Manfred Mohr. 1963 — Now. In: \u003C\u002Fspan>\u003Ci>\u003Cspan style=\"font-weight:400\">Youtube \u003C\u002Fspan>\u003C\u002Fi>\u003Cspan style=\"font-weight:400\">[online]. 18. 03. 2016 [cited 2013-06-18]. Channel of the user \u003C\u002Fspan>\u003Ca href=\"https:\u002F\u002Fwww.youtube.com\u002Fchannel\u002FUCBtGVupR621ytCdSG-z7jqQ\">\u003Cspan style=\"font-weight:400\">Art Basel\u003C\u002Fspan>\u003C\u002Fa>\u003Cspan style=\"font-weight:400\">. Available at: http:\u002F\u002Fwww.youtube.com\u002Fwatch?feature=player_embedded&v=aN1JcfRc6Xs#!\u003C\u002Fspan>\u003C\u002Fp>",1790905672474]