Randomness
From Maze
(Difference between revisions)
(→Computational Randomness in Aesthetic Design) | (→Randomness and Aesthetics Before Computing) | ||
| Line 13: | Line 13: | ||
[The text formerly here was a mix of notes and paragraphs and not draft yet. I've moved it into [[Randomness in the Arts]] notes section.] | [The text formerly here was a mix of notes and paragraphs and not draft yet. I've moved it into [[Randomness in the Arts]] notes section.] | ||
| − | [Arp] | + | Within the visual arts, the word chance is used more than our term random. The meaning of chance in this context is more general and covers a wider range of work. In his text Chance Imagery, the conceptual artist George Brecht clarifies between two types of chance operations, “one where the origin of images is unknown because it lies in deeper-than-conscious levels of the mind, and the second where images derive from mechanical processes not under the artist’s control.” The first definition describes the work of the surrealists and abstract expressionists who allow subconscious processes to dictate the work. The second definition correlates to how we define randomness; it describes the work of the artists most relevant to our interest in 10 Print. |
| − | [Duchamp] | ||
| − | [Cage] | ||
| − | Within the visual arts, the word chance is used more than our term random. The meaning of chance in this context is more general and covers a wider range of work. In his text Chance Imagery, the conceptual artist George Brecht clarifies between two types of chance operations, “one where the origin of images is unknown because it lies in deeper-than-conscious levels of the mind, and the second where images derive from mechanical processes not under the artist’s control.” The first definition describes the work of the surrealists and abstract expressionists who allow subconscious processes to dictate the work. The second definition correlates to how we define randomness; it describes the work of Marcel Duchamp and John Cage, the artists most relevant to our interest in 10 Print. | + | In 1913, the French artist Marcel Duchamp made a strong statement with Three Standard Stoppages. He dropped three meter-long pieces of string from the height of one meter and let gravity, ??, and ?? dictate the paths downward onto a canvas. He then adhered the string and recorded the shape by tracing it onto wood and cutting it out. This act challenged the meter as a standard measurement and allowed Duchamp to construct his own standards as a parody of so-called rational science and to undermine the authority of the meter. |
| − | In 1913, the French artist Marcel Duchamp made a strong statement with Three Standard Stoppages. MORE | + | Duchamp was active within the Dada movement, an energy within the arts that reacted to the horrors of World War I. Many of the artists were in active combat... Rejected the ?? that brought about the war... |
| + | “Dada wished to destroy the reasonable frauds of men and recover the natural, unreasonable order. Dada wished to replace the logical nonsense of the men of today with an illogical nonsense.” | ||
| − | “Dada wished to destroy the reasonable frauds of men and recover the natural, unreasonable order. Dada wished to replace the logical nonsense of the men of today with an illogical nonsense.” | + | Within the 20th century, John Cage is most responsible for promoting random processes to move beyond the individuals tastes and biases of an individual. In additional to his work as a composer, he influenced generations of artists through his writing, lectures, and classes. |
| + | |||
| + | Cage: “This means that each performance of such a piece of music is unique, as interesting to its composer as to others listening. It is easy to see again the parallel with nature, for even with leaves of the same tree, no two are exactly alike. | ||
=== The Emergence of Randomness in Computing === | === The Emergence of Randomness in Computing === | ||
