Randomness
From Maze
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=== Randomness and Aesthetics Before Computing === | === Randomness and Aesthetics Before Computing === | ||
| − | The role of randomness in creating patterns and designs, using analog methods of random generation. Burroughs and Cage figure prominently in this history, but there are earlier examples, most notably, the 18th century Dominican priest Sebastien Truchet, whose randomly generated Truchet patterns eerily prefigure that pattern produced by 10 PRINT. | + | [The text formerly here was a mix of notes and paragraphs and not draft yet. I've moved it into the bottom of the discussion] |
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| − | Chance can mean the free association works of the surrealists (automatism) or allowing things to happen (paint to drip). It can also be a more strict/technical definition of what is meant by "random". [What is the less strict thing meant by "random" and the more strict thing meant by "chance"?] | ||
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| − | Randomness has the ability to heighten every other emotion, because, as Bruce Schneier has observed of technology, it obscures perception, mandating further observation and investment. Perceptually, random visual images can alert us to previously undiscovered compositions. Musically, random sound works similarly. It can re-order sonic events or even produce original ones, satisfying our need for emotion. [How so? A specific example?] | ||
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| − | Yet surprise elements have existed in music well before computers. Consider blues music - a genre which invites improvisation. It might be imagined as a personal music, in which the performer surprises himself though taking random chances in the notes played on an instrument. Imagine an evening's performance, a guitarist onstage, struggling to connect his inner feelings with the motion of his hands and the sound his instrument produces. As playing gets more intense, the body couples tightly to the instrument, and perhaps due to a bit of perspiration, a brief index finger slip near the 14th fret leads to a random “wrong note” which the player's and listeners' ears quickly detect. Yet, the skilled player perceives it not as a "wrong note," but an unexamined slice of his story, and incorporates the new pitch into the melody. Working the note back into the fold, the player relives that surprise moment with every pluck until it no longer becomes a surprise. | ||
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| − | Randomness implies a relationship between expectation and surprise, a violation of anticipation as well as a notion of temporariness and release. This notion of violated predictability is key to some modern musician's playing and composing styles, leading many to create “generative music,” such as Autechre (http://www.soundonsound.com/sos/apr04/articles/autechre.htm) who produce music using precisely-chosen strands of random numbers. | ||
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| − | When used in art and performance, the surprise which random moments produce may even be contagious: Imagine the story in the previous paragraph from the perspective of a potential romantic couple: | ||
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| − | In that moment of tension after the performer stuck the random note, the whole roomed breathed in together. Instead of resolving it, the guitarist let the silence of the room suffuse. This delighted two shy listeners. As they simultaneously smiled, they mutually recognized the expressions from the corners of their eyes and took it as a cue to move closer together. In their first conversation, one of them revealed, "I wasn't even supposed to be here, I took the wrong train. It was an accident..." Their conclusion is that fate brought them together. While their biological systems may have primed them for the experience, it was the accumulation of random events which produced the perceptible event. | ||
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| − | In this theoretical example, the randomness played only a small role in the story. In some artworks, as in 10 PRINT, randomness plays a much larger role. | ||
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| − | For example, Duchamp's 3 Standard Stoppages and their use in the Large Glass. | ||
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| − | 3 standard stoppages = alternate views of what the meter could have been. | ||
| − | Resulted in 3 meterstick-like objects with curvy edges... each a meter long, but "undermining the rational basis" made by dropping a thread from the air, allowing it to hit randomly, yet keeping it a permeant part (On Line: Drawing Through the Twentieth Century November 21, 2010–February 7, 2011) | ||
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| − | Large Glass: http://en.wikipedia.org/wiki/The_Large_Glass | ||
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| − | One of Duchamp's last works. Involves alternate physics. Notable materials for their longevity and craftiness (copper wire, glass). mysterious physical apparatus powered by previously designed curvy metersticks? "The Greenbox," DuChamp's explanation is no more revealing. but the piece has been described as a hilarious, erotic encounter between a bride in the upper half and her suitors below. | ||
| − | The piece was inspired by a performance of the stage adaptation of Roussel's novel Impression of Africa which Duchamp attended in 1912 | ||
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| − | Must discuss Cage and Zen Buddhism and his influence. | ||
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| − | Cage in Experimental Music, 1958 [Iversen 51] " Those involved with the composition of experimental music find ways and means to remove themselves from the activities of the sounds they make. Some employ chance operations, derived from sources as ancient as the Chinese Book of Changes, or as moderns as the tables of random numbers used also by physicists in research. " In a world in which surprise is available as a commodity, e.g. entrance to the fairgrounds, Cage's observation may be interpreted as a criticism on the over-reliance of chance-determined processes to "produce" surprise on demand. | ||
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| − | "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. " | ||
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| − | Marcel Duchamp and John Cage have been the most influential. Duchamp influenced Cage and Cage influenced many more across a range of fields. | ||
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| − | Gabrielle Buffet-Picabia quoted in Chance Imagery by George Brecht [Iversen 38] | ||
| − | Chance-Imagery here: http://www.robertspahr.com/courses/ela/brecht_chance.pdf | ||
| − | quote in question: | ||
| − | “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. That is why we beat the Dadaist bass drum with all | ||
| − | our might and trumpeted the praises of unreason. . . . Dada like nature is without | ||
| − | meaning. Dada is for infinite meaning and finite means.” (Gabrielle Buffet-Picabia, | ||
| − | 1949, ref. 8.) | ||
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| − | I imagine the relevant part of the Buffet-Picabia quote is "infinite meaning and finite means," referring to the projection of meaning into the maze, and the limited resources of the computer's tiles?????? | ||
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| − | Sometimes, it is not merely a single random event, but an accumulation of them which really makes the world run, at least according to a theory science fiction writer Douglas Adams repeatedly referred to called "Infinite Improbability." | ||
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| − | … " This means each performance of such a piece of music is unique, as interesting to its composer as to others listening. It is easy again to see the parallel with nature, for even with leaves of the same tree, no two are exactly alike. The parallel in art is the sculpture with moving parts, the mobile. " | ||
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| − | "Art, Cage remarked, is not 'self expression but self alteration.'" [Iversen 92] | ||
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| − | Fluxus was important in promoting the ideas further. | ||
=== The Emergence of Randomness in Computing === | === The Emergence of Randomness in Computing === | ||
