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WD_185/ 2005
(  Satoshi Kinoshita )
| Series: | Works on paper: Drawings 2 | | Medium: | oilstick on paper | | Size (inches): | 25 x 19.9 | | Size (mm): | 640 x 510 | | Catalog #: | WD_0185 | | Description: | Signed, date and copyright in pencil on the reverse.
That which is static and repetitive is boring. That which is dynamic and random is confusing. In between lies art.
-John A. Locke/ en.wikipedia.org/wiki/Randomness#In_art
Aaleatory and aleatoric:
Composition depending upon chance, random accident, or highly improvisational execution, typically hoping to attain freedom from the past, from academic formulas, and the limitations placed on imagination by the conscious mind. There is a tradition of Japanese and Chinese artists employing aleatoric methods, many influenced by Taoism and Zen Buddhism. In the west, precedents can be found among artists of ancient Greece, and later among artists of the Italian Renaissance. Leonardo da Vinci (Italian, 1452-1519) recommended looking at blotches on walls as a means of initiating artistic ideas. Aleatory was also employed by numerous twentieth century avant-garde artists. Followers of the Dada and Surrealism produced numerous examples. Jean Arp (French, 1887-1966) made collages by dropping small pieces of paper onto a larger piece, then adhering them where they landed. André Masson (French, 1896-1987) and Joan Miró (Spanish, 1893-1983) allowed their pens to wander over sheets of paper in the belief that they would discover in those doodles the ghosts of their repressed imaginations. Similarly, Tristan Tzara (Rumanian, 1896-1963) created poetry by selecting sentences from newspapers entirely by chance.
-www.artlex.com/ArtLex/a/aleatory.html
Aleatory:
Aleatory (or aleatoric) means "pertaining to luck", and derives from the Latin word alea, the rolling dice. Aleatoric art is that which exploits the principle of randomness. One of the most ambitious aleatory projects in poetry is Raymond Queneau's Cent Mille Milliards de Počmes (Hundred Thousand Billion Poems).
John Cage was a very important name in aleatoric music. At the premiere of his most famous work, 4' 33", the famous virtuoso pianist David Tudor sat at the piano for four minutes and thirty-three seconds and the reactions of the audience (whispering, coughs, laughs ...) formed the music.
In film-making, there are several avant-garde examples; Fred Camper's SN (1984; first screening 2002) uses coin-flipping to determine which three of 18 possible reels to screen and what order they should go in (4896 permutations). Barry Salt, now better known as a film scholar, is known to have made a film six reels long which takes the word aleatory quite literally by including a customized die for the projectionist to roll to determine the reel order (720 permutations).
In contemporary music, The Books compose in an aleatoric style, using "found sound" to add content to their works.
-Wikipedia, the free encyclopedia/ en.wikipedia.org/wiki/Aleatory
Randomness:
The word random is used to express apparent lack of purpose or cause. The term randomness is often used synonymously with a number of measurable statistical properties, such as lack of bias or correlation.
Randomness has an important place in science and philosophy.
History:
Mankind has been concerned with randomness since prehistoric times, mostly through divination (reading messages in random patterns) and gambling. The opposition between free will and determinism has been a divisive issue in philosophy and theology.
Despite the prevalence of gambling in all times and cultures, for a long time there was little rational inquiry into the subject (Due among others to the Church's disapproval of gambling and divination). Though Gerolamo Cardano and Galileo have written about games of chance, it was work by Blaise Pascal, Pierre de Fermat and Christiaan Huygens that led to what is today known as probability theory.
Mathematicians focused at first on statistical randomness and considered block frequencies (that is, not only the frequencies of occurrences of individual elements, but also those of blocks of arbitrary length ) as the measure of randomness, an approach that extended into the use of information entropy in information theory.
In the early 1960s Gregory Chaitin, Andrey Kolmogorov and Ray Solomonoff introduced the notion of algorithmic randomness, in which the randomness of a sequence represents whether it is easy to compress.
Randomness versus unpredictability:
Randomness, should not be confused with unpredictability which is a related idea in ordinary usage. Some mathematical systems for example, could be seen as random, however these are considered unpredictable. This is due to sensitive dependence on initial conditions (See chaos theory). Many random phenomena may exhibit organized features at some levels. For example, the increase of the human population is quite predictable on average, but individual births and deaths cannot be accurately predicted in most cases. This small-scale randomness is found in almost all real-world systems. Ohm's law and the kinetic theory of gases are statistically reliable descriptions of the 'sum' (ie, the net result or integration) of vast numbers of individual micro events, each of which are random and none of which are individually predictable within practical limits. Theoretically the micro events of gases for example could be predicted if the exact position, velocity, atomic composition, angular momentum and so on was known. All we directly perceive is circuit noise and some bulk gas behaviors.
Unpredictability is required in some applications such as the many uses of random numbers in cryptography. In other applications, such as modeling or simulation applications, statistical randomness is essential, but unpredictability is not only unnecessary, but may be sometimes undesirable (for instance, when repeatedly running simulations or acceptance tests, it can be useful to be able to rerun the model with the exact same random input several times).
Sensibly dealing with randomness is a hard problem in modern science, mathematics, psychology and philosophy. Merely defining it adequately, for the purposes of one discipline has proven quite difficult. Distinguishing between apparent randomness and actual randomness has been no easier, and additionally assuring unpredictability, especially against a well motivated party (in cryptographic parlance, the "adversary"), has been harder still.
Some philosophers have argued that there is no randomness in the universe, only unpredictability. Others find the distinction meaningless. (See determinism).
In music:
Randomness in music is deemed postmodern, including John Cage's chance derived Music of Changes, Iannis Xenakis' stochastic music, aleatoric music, indeterminate music, or generative music.
In art:
The clearest example of randomness occurs in the problem of arranging items in an art exhibit. Usually this is avoided by using a theme. As John Cage pointed out, "While there are many ways that sounds might be produced [ie, in terms of patterns], few are attempted". Similarly, the arrangement of art in exhibits is often deliberately non-random. One case of this was Hitler's attempt to portray modern art in the worst possible light by arranging works in worst possible manner. A case can be made for trying to make art in the worst possible way; ie, either as anti-art, Pop art, Type 2 (ie, social commentary), or as actually random art.
Dadaism as well as many other movements in art and letters have attempted to deal with randomness in various forms. Often people mistake order for randomness based on lack of information; e.g., Jackson Pollock's drip paintings, Helen Frankenthaler's abstractions (e.g., "For E.M."). Thus, in theory of art, all art is random in that it's "just paint and canvas" (the explanation of Frank Stella's work).
In literature:
Similarly, the "un-expected" ending is part of the nature of interesting literature. A chief example of this is Denis Diderot's novel Jacques le fataliste (literally: James the Fatalist; sometimes referred to as Jacques the Fatalist or Jacques the Servant and his Master). At one point in the novel, Diderot speaks directly to the reader:
Now I, as the author of this novel might have them set upon by thieves, or I might have them rest by a tree until the rain stops, but in fact they kept on walking and then near night-fall they could see the light of an inn in the distance.
(not an exact quote). Diderot was making the point that the novel (a new invention then) was in fact random (in the sense of being invented out of thin air by the author). See also Eugenio Montale, Theatre of the Absurd.
-Wikipedia, the free encyclopedia/ en.wikipedia.org/wiki/Randomness#In_art
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