Randomness happens unpredictably without having any discernible human intention

Randomness and chance are two very closely related word of English
dictionary, in fact, that to say that an event which happened by chance is very
nearly synonymous to saying it happened randomly in an ordinary English.
Randomness and chance seem to play an important role in art, particularly
painting and drawing. An oil painting, when looked very closely, it appears to
be nothing but a random collection of colours & marks, and it resolves
themselves into an image. It is often used colloquially to indicate
arbitrariness or things unrelated random acts of violence, random thoughts,
random encounters and a number of fields as in computer science, statistics,
and informational theory have more rigorous definitions of randomness.

Whereas chance refers to unpredictable, but deterministic
events, it is something that happens unpredictably without having any
discernible human intention or an observable cause. If we stick with rigorous definition
of art in the dictionary, we will never be able to see chance procedures as
art. But without a boundary such as this, art can be find easily in a random
design. How? As we begin to see the random process that simulate the same type
of quality human mind produce, a patterns of line and colour. With the onset of
modern (20th century) art in the form of abstract expressionism, Dadaism, and
surrealism, humanity has been forced to challenge preconceived definitions of

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Randomness is not a new concept. For example, a method for
random selection–essentially drawing one lot from many out of a helmet–is
explained in Homer’s Iliad. Even in pre-Newtonian 17th-century discourse
relating chance, cause, and necessity, a distinction was made between events
which appeared to be random–but merely being unpredictable–and events which
were truly random. This philosophical inquiry raised metaphysical questions
about human agency in the word. Even today, with science settled on the
definition of randomness as a non-repeating, non-biased, non-patterned sequence
of values, our assumptions about chance, cause, and effect often conflict with
the facts2.


In more illustrated talk many artists and mathematician, Malcolm
Ludvigsen in one of them has discuss the random and chaotic element in many
from of the art with point of view of both scientist and painter. In
particular, we shall take a sceptical look at the possible use of the concept
of entropy in art, and whether fractals and so-called chaos theory can play a
useful and meaningful role.

And when we get to deeper study of many of artist of modern
days (20th century), we may be able to notice randomness impact on their art forms
and practices. For Example Jackson Pollock practiced the technique called
Action Painting, and also placed value on the complementary forces of the
rational and irrational .He, knowingly some say, thus echoed the
Chinese techniques of ages before, in the rhythm of the C’hi3.

When we move on to many other artist achievement those are achieve
by this clever brushwork or by starting with a random pattern and then seeing
the image in the chaos of marks, a method actually recommended by Leonardo da
Vinci. Some of the best examples of this are from early cave art where the
artist has seen the image, for example, a horse, in the cracks and stains of
the rock and then simply emphasized them. Another source of randomness is the
so-called happy accident, where a slip of the brush produces a random but
interesting mark4.

If we ask artist if any aspect of their art process is
random. Then answer will likely reveal the complex relationship between human
cognition, digital media, authorship, and even conceptions of reality and the
divine. For those of us who work in computational media to make art, the
question can be even more focused: When and why do you use a “random()”
function when you write code? Well it is most often used by them in their field
of work, even many times a day or a week. The applications of randomness in
statistics, computer science, finance, and mathematics are well established,
but less so in art and design.

Inspired by the most reliable source of randomness
universally available on the computer, random.org, which samples natural phenomena
and digitally records and processes it to achieve “true” randomness, many
students are inclined to operate physically, and experiment with material media
to generate random values. Students find themselves facing the same quandary
raised by Bishop Derry. Something like a splatter of paint may be unpredictable
at first, but as the mechanism for splattering paint becomes more
controlled–and less contingent, it becomes clear that randomness can be rarely
achieved by physical means–at least on the scale of paint. But it can certainly
be done. Lavarand is one example in which the behaviour of Lava Lites helps to
generate random numbers. Another related example entails creating a
manually-operated random machine with geometry. In a course I once taught, Matthew
Solomon created a random number generator with a triangle as a seed. A line
bounces within the triangle based on a set of rules. Numbers are generated
based on where the line intersects the edge of the triangle. Aaron Tobey wrote
a script to execute a similar though slightly more complex series of geometric
operations and logical rules to build a random sequence.

This work doesn’t prove anything about randomness but
suggests that computing may serve as a medium for art rather than a tool to
make art. Because randomness so inhuman, to wield might mean to undermine our
humanity, but it also might function as a foil in our efforts to better
understand the nature of our own creative instincts.


In an architectural rendering, for example, random values
might be used to place blades of grass on the ground. The key here is an
intelligent decision about what is ordered and configured versus what is
appropriately random. In this kind of situation, a random function directly
generates some aspect of the work, but that that aspect is usually not the


Surprise is often a necessity in an art or design process.
Designers and artists have been constructing situations in which we can
surprise ourselves since we have been sketching and drawing. The conceptual
distance between intention and result coupled with the mechanical distance
between impulse and mark promote discovery. New relationships, orders, and
conditions emerge in part because good designers are trained to see
productively, but also because an accidental blip in an otherwise straight line
might look like something important that the author had not previously
considered. When the role of digital media relative to material drawing was
still contentious, random values where often inserted into the coordinates of
points along drafted lines in an effort to make the content appear–perhaps even
subconsciously–warmer, looser, and more human. Ironically, using random in this
context involves deploying an inherently inhuman method to achieve more
personable result.


Sometimes, the contribution of an artist or designer consist
of the rules, logics and coded relationships rather than the output of that
process. Repeatedly running the algorithm with random input values can
productively undermine results relative to process.

With multiples roles of randomness in art and design
explored, another deeper question can be raised: can the generation of
randomness itself constitute a work of art? This was another question posed by
the design computation course mentioned above. Making a random number generator
“from scratch” is not just an artistic endeavour, however. Some of us prefer to
know how to do the things we ask the computer do for us on a regular basis.

For this assignment, a premium is placed on minimalism.
Students are asked to consider what one can do in order to achieve random
results. Like the “random()” function in programming languages, the results can
be random but predictable if one knows the process, which fully determines the
outcome. I teach the students an algorithm for creating and using a
linear-feedback shift register to generate numbers. Though common in digital
computing, this process can be executed with pencil and paper or physically
with a tray and some marbles. One student, Romi, created a single–and very
large–image of every step of this process at three scales of register length.
The image is not random, but rather a representation of a simple, repeating,
patterned, systematic cycle for producing randomness. Linyi Dai used the value
of each register at each of 50 steps to generate the rungs of a sphere.

At end I would like go by this saying “Same time random ideas
can turned to absolute remarks and those might be best chance of your life”.