Chance- Imagery

by George Brecht

Art is not the most precious manifestation of life. Art has not the celestial and universal value that people like to attribute to it. Life is far more interesting.

TristanTzara1

1966 A Great Bear Pamphlet New York

ubuclassics 2004 CHANCE IMAGERY

GEORGE BRECHT

ubuclassics 2004 ubuclassics ubu.com classics www.ubu.com Series Editor: Tencer Michael Chance Imagery Brecht George Else Press, Something by Bear Pamphlet in 1966 as a Great Originally published 1966. ubu

CHANCE-IMAGERY

“Knowledge is the source of all mystery.” Shen-hui.

The purpose of this article is to encourage insight regarding chance-imagery, especially certain less intuitively obvious formal aspects. Every statement of opinion is as wrong in one sense as it is right in some other, for every distinction is an artificial one, an arbitrary subdivision of what is actually a unified whole. This is one of the reasons that words about art are so infinitely inferior to the art itself. Art unites us with the whole; words only permit us to handle a unified reality by maneuvering arbitrarily excised chunks.

With this apology for juggling words at all, let us indicate how we intend to approach an infinitely broad and complex subject, chance and its relation to the arts.

(“Arts” here is taken in a broadly historical, but actually no longer appropriate, sense.)

First, a working definition (Chance).

Some background ( and ).

A focal point in development ().

Some parallel developments in our culture (Historical Concurrences: Statistics,

Science and Philosophy).

Randomness.

Some methodology (Ways of Invoking Chance).

Coda.

Chance

The word “chance” (with a Latin root relating to the falling of dice) can conve- niently be taken to mean that the cause, or system of causes, responsible for a given effect is unknown or unlooked-for or, at least, that we are unable to completely specify it.

Of course, in the real world, causes are also effects, and effects causes. The fall of a die,

4 ubuclassics ubu.com , we shall indicate two aspects of two shall indicate , we e image 55 fectiv these processes have in common a lack of in have these processes con- ol. Both of y considerations with many ramifications, but I hope they will I hope they but ramifications, with many y considerations s contr ther subconsciously in a state ofther subconsciously in a state take inner tension,” would strong e elementar It is sometimes possible to specify only the universe ofto specify only the universe It is sometimes possible characteristics possible In connection with art, and the af hese ar . T Dada and Surrealism is a certain lack of there In the sense that the do, we in everything conscious control se le results,” even when that universe is hypothetical, for this clarifies for us the nature of us the nature this clarifies for for is hypothetical, universe that when even le results,” er vent, for chance and randomness are aspects of and randomness are chance for vent, our uni- structure we in which the way hance event. hance, one where the origin of one where hance, because it lies in deeper-than-con- images is unknown or example, is the effect ofor example, ofinfinite number an causes (among unknown) (largely chance imagery george brecht george imagery chance use of of drawings be traced (academically) to the cave in art could chance prehistoric use of the first explicit man; but come shortly before have in painting seems to chance I. If War World of then the improvisations as chance, admit automatism we Kandinsky (1911), painted “ra f of can imagine resilience we which of hardness the die, angle of the table, contact to be included), and this effect, in turn, be the cause of may of winning a certain amount my money. toss of a example, For have. may event a chance which a normal to expected die will be to turn particular face will be expected up in about Any one to six. from a number give one-sixth of But the outcome of throws. many a great unknown remains one toss any It is often useful to keep of in mind this “universe has been made. until the throw possi- b events that should note here We universe. a limited as a selection from event our chance or random is no absolute chance There way. in a relative defined as due to chance are e v serve as a conceptual base-line for the discussion to follow, which should clarify the which the discussion to follow, as a conceptual base-line for serve ofnature as a special type of the random event, discuss shall later We chance. bias-free c c ofscious levels process- mechanical from images derive the mind, and the second where es not under the artist’ scious design. ubuclassics ubu.com or in Zen). I-Ching orth bringing to light. unknown causes, and by causes, unknown , it alone is w consciously 66 of incorporated for- were in which Picasso (1912), ed the unconscious to be a source ofed the unconscious to be a source from images free papiers colles papiers newspaper and cardboard. newspaper e are restricting ourselves to the generation of to the generation ourselves restricting e are and not chance-images, tion, we shall indicate only the place of only shall indicate tion, we the unconscious (including the ecia he Dadaists consider Since w (The question of of nature chance the might be endlessly debated. automatism T “We are now in a position to formulate the problem of the problem in a position to formulate now are “We the accurately art, more “The unconscious is inexhaustible and uncontrollable. Its force surpasses It us. Its force and uncontrollable. “The unconscious is inexhaustible ysterious as the last particle of if a brain cell. Even could not knew it, we we ation ofation deeptake very or not always accidentalness” [2], and it does psychic eton, Soupault]: only the unconscious does not lie this definition, at least, automatism is a chance process.) is a chance least, automatism this definition, at to their appr lengthy probing to reveal immediate causes for the psychically accidental. At any rate, it rate, accidental. At any the psychically causes for immediate to reveal probing lengthy by as being defined is practical to consider chance of as a source or fore-conscious) subconscious, The importance of significant images. also but not only in modern facets, psychology, to the unconscious has manifold chance manifested in the as that in Oriental thought (such (and particularly) tuitous scraps of tuitous scraps seeking immediate our lies in the distinction between the answer It seems to me that causes ofcauses or ultimate ulti- reflection It takes little to see that actions. automatic the- psychoanalytic but be ascribed to chance, reasonably and might readily causes mate of and unconscious knowledge “conscious ignorance ory has taught us to expect the motiv precedence over the first over precedence chance imagery george brecht george imagery chance social custom and all the other artificial restric- parents, the biases engrained in us by tions on intellectual freedom: ofproblem to the writers of as it appeared expression, [Aragon, group and Litterature Br All deliberate and conscious efforts, composition, logic are futile. The celebrated French The celebrated futile. composition, logic are and conscious efforts, All deliberate lantern. a cheap traps (as a physi- At best the ‘poet’ can prepare lucidity is nothing but surprise the unconscious by and to catch with which a patient), cian might do in treating (3) Raymond . . . .” Marcel cheating it from to prevent is as m reconstruct it.” Tristan Tzara (1) Tzara it.” Tristan reconstruct ubuclassics ubu.com - super ector by 24 by hance in c . It comes to tion of reality standing the v The of Interpretation Dreams tism in a considera 77 y 20.) b pt is a critical one in under y) we read into phenomena characteristics which they which into phenomena characteristics read y) we esources ofesources we “artist,” which the contemporary research utomatism is also an aspect ofutomatism we in the sense that chance y summar fective form fective concerned, is is an aspect of chance made universe the om this discussion only to preserve a certain tightness in our consider- om this discussion only to preserve chopathology of Everyday Life Psy elous (a hand We are more interested, though, in the mechanically chance process, and here process, chance though, in the mechanically interested, more are We It is useful practically to include automa (This statement, written in 1924, followed (This written in 1924, followed statement, “During the course of outside all forms of development, Surrealist idealism, As far as af the methodological r chance for the creation of the creation for chance He in the “3 stoppages etalon.” image, an affective .” (4) pting something”), and the conce , idle wanderings, poetry, the supernatural in empiricism, in and the unusual; poetry, , idle wanderings, tion of ears, and ears, chance imagery george brecht george imagery chance art, and it is only our viewpoint which makes it a chance process, but there is actually no there but process, makes it a chance art, and it is only our viewpoint which the others of why reason exclude could not also be included. We categories Breton’s them arbitrarily fr a will take up further on. A is not. In all of it really as something which accept product its of manifestations Breton’s the marv The idea will and the future. chance-imagists, the present-day Dada, Pollock, through called as a method I’ve up particularly and shows appear again on Pollock, in the section (also discussed later). process” the “irrelevant seems to be the first explicit 1913 he undertook what In did the pioneer work. Duchamp use of do not possess in an absolute way. Duchamp called this “irony” (“a playful way of way (“a playful called this “irony” Duchamp do not possess in an absolute way. acce reality y outside the opiates ofoutside the opiates comes to light within the marvelous religion, significant by unconscious interactions, but it is not the only aspect. When the largely the only aspect. When it is not but unconscious interactions, by significant oficonoclastic displays of researches systematic the more superseded by Dada were the in the “First (1924), made this general Manifesto” Surrealist one, for Breton, Surrealists, in the unconscious explicit: interest light in dreams, obsessions, preoccupations, in sleep, fear, love, chance; in hallucinations, in chance; love, fear, in sleep, preoccupations, obsessions, light in dreams, in fan- and evasions; escape mechanisms ghostly apparitions, follies, disorders, pretended cies ubuclassics ubu.com , shuffling them, paper hance scraps of 88 y picking up c , skill in aiming. Nine marks were made upon the glass by the made upon the glass by were Nine marks , skill in aiming. t is , tha esse eate themselves and thus void the responsibility of the responsibility and thus void themselves eate the hand, is termed adr p composed collages b zara composed poems by drawing words from a hat. (“To make a dadaist make (“To a hat. from words drawing zara composed poems by ve a blank canvas. After letting it fall onto the canvas, it was fixed with a trick- it was fixed it fall onto the canvas, After letting canvas. a blank ve Ernst developed the “decalcomania ofErnst developed ink example, for (5), wherein, chance” T Duchamp’s theories on the use ofDuchamp’s not but seem highly developed, chance Ar Duchamp seems to consider three phenomena basic to his exploitation of phenomena basic to his exploitation to consider three seems Duchamp hamp te gravity; wind was used to create the cloud formations for “La Mariee mise a nu par the cloud formations “La Mariee mise a nu for wind was used to create te gravity; tion plan. Here the nine points became the locations for the nine malic forms for the nine points became the locations in per- tion plan. Here y Duc a poem/ Take a newspaper./ Take a pair of Take a newspaper./ poem/ Take are Choose an article as long as you scissors./ and gluing them down just as they fell (example: the “Squares arranged according to the arranged according the “Squares fell (example: just as they and gluing them down oflaws a collage of chance,” 1916). sheets of two between was spread then pulled apart (example: were which paper, 161). 4, p. in ref. Oscar Dominguez, illus. “Decalcomania, 1936” by exhaustive. Other Dadaists, especially Arp, Ernst and Tzara, later developed other developed later Ernst especially Arp, and Tzara, Dadaists, Other exhaustive. ofimportant applications chance: impact of shots of shots cannon . . . . Aiming nine a toy dipped in paint, from matches point, these formed of a given as a result a polygram at and in the aim-control variation the flat or floor polygram plan into an ele- He then converted conditions. accompanying v (5) spective.” chance: wind, gravity and aim. (This on an article about largely discussion is based wind, gravity chance: 5.) Theillus- “3 stoppages etalon” see reference Janis; Harriet and Sidney by Duchamp tra a piece of currents blowing meme” (1915-1923): “Air ses celibataires, mesh gauze three repeated upon it. The a limpid rectangle imprinted against experiment a screen, in allow- device . . . . The third on the square variations images, chance three times gave ing shapes to cr b made these images by holding a thread one meter long, “straight and horizontal,” one and horizontal,” “straight one meter long, a thread holding images by made these meter abo le of to was repeated it fell. This process in which varnish convolution the chance into canvases. such three give chance imagery george brecht george imagery chance ubuclassics ubu.com herein several herein fet-Picabia, , w e exquis cadavr .” (Gabrielle Buf 99 olding the paper to cover his addition, before pass- his addition, before olding the paper to cover , f e nonsense the ridiculous and the profound were made were nonsense the ridiculous and the profound . That is why we beat the Dadaist bass drum with all beat we . That is why y of a pictur our poem./ Cut out the article./ Then cut out each of Then out each cut Cut out the article./ our poem./ the words or infinite meaning and finite means was a “semi-automatic process for obtaining patterns or designs by rub- patterns obtaining for or designs by process was a “semi-automatic h made part of he ability of as so evident opposites is nowhere reconcile the unconscious to or within a peripher erse.” The almost incredibly incisive mind of incisive The almost incredibly erse.” as 1922, as early Tzara, Tristan T A very interesting technique of technique interesting A very permitted which the cause of the Surrealists, an Frottage . Dada is f y with an illogical nonsense vince each other: “Dada wished to destroy the reasonable frauds of the reasonable other: “Dada wished to destroy vince each men and recover sons eac toda vent to be lost, so to speak, in multiplicity, was that of was that to be lost, so to speak, in multiplicity, vent the xample of general term a more - the “irrele- have shall later we which for a technique chance imagery george brecht george imagery chance the natural, unreasonable order. Dada wished to replace the logical nonsense of the logical Dada wished to replace order. unreasonable the natural, the men of per Yves 1926-1927, by is the “Figure,” participant. (An example to the next ing the drawing 251.) 4, p. in ref. illus. Max Morise and Man Ray, Miro, Joan Tanguy, to e our might and trumpeted the praises of is without . . . Dada like nature unreason. meaning a major part, as testi- played chance a (frameless) framework, such 8.) Within 1949, ref. Arp himselffied by spiritual immediate to me, (9): “Chance opened up perceptions of the law led me to revere Intuition insights. as the highest and deepest of chance laws, might become a deadly An insignificant word the fundament. rises from that the law a the earth. One little sound might create thunderbolt. One little sound might destroy new univ in Dada, f e bing canvas or paper which has been placed over a rough surface such as planking, surface such a rough has been placed over paper which or bing canvas ca. 1927). This Ernst, is an a brick wall, etc.” (7) (example: “The Horde,” embossing, e process.” vant planning to make y planning to Then take out the Shake it gently./ put them in a bag./ up this article and make that conscientious- Copy left the bag./ they which in other in the order scraps one after the and infinitely original a writer, are you And here The be like you./ poem will ly./ the understanding of is charming with a sensibility that though beyond endowed the (6) vulgar.” ubuclassics ubu.com h had preceded him in Dada, and in a way h had preceded 1010 hic all the principles w ollock he Second World War helped to disperse the European Dadaists and helped to disperse the European War he Second World eedom, and he spoke more than once ofeedom, and he spoke more and his debt to their unpremeditated Jackson Pollock’s first show was held at Peggy Guggenheim’s gallery in 1943. Guggenheim’s Peggy first was held at show Pollock’s Jackson first that points, two for evidence let us briefly give Not to get lost in conjecture, T fr ackson P J tional synthesis of vincing ofmodern. all is not at on Dada”): “Dada the “Lecture It Dada documents, ra ollock’s calligraphy was truly automatic and second that there is a considerable element is a considerable there and second that was truly automatic calligraphy ollock’s automatic methods. By elevating the appeal to chance and accident into a first principle the appeal to chance By elevating methods. automatic of rigid formalisms the more of had circumvented the Surrealists creation, modern art.” paintings of(11) It is not difficult to find their influence in Pollock’s (for the war years of “Guardians example, sustained and a profound, achieved 1943). Pollock the Secret,” ir Here he was able to associate with the proponents of with the proponents to associate he was able Here was which disorder” “sacred that his radical new owed them Pollock “To original style. to his own to become the key later sense of of less manifestations His paintings seem much consistent with his contemporary world. one of of a group the unconscious (as the Dada experiments releasing for techniques do ofseemed), than they integrated use of a single, as a means of chance unlocking the graspdeepest possible of sense. in its broadest nature P is more in the nature of in the nature is more a returnof to an almost Buddhist religion (10) indifference.” aspects ofSuch become thought-scientific thought-Dada-chance as Oriental reality of allusive is the most chance a light. Perhaps in such clearer somewhat the phenomena of it is capable the Dadaists and Surrealists because studied by being most widely gener- shall see. We alized. even recognized the relationship of the relationship recognized even of (in one philosophy all this to Oriental the most con of and many Surrealists, Masson - Ernst, the most original artists - Breton, Tanguy, Levy the Julien galleries, New York two around particularly in New York, regrouped Art of Guggenheim’s Gallery and Peggy This Century. chance imagery george brecht george imagery chance of arrangement of in the ultimate chance of pigment in the chance-paintings roughly ubuclassics ubu.com the tion of xact configura ning period, it is obvious t the e y a long lear ysically through an interaction ofysically through method and 1111 e ph s hands. Never before Pollock were chance processes chance were Pollock before Never s hands. ficient omniscience tha y ar my painting, I’m not aware of I’m not aware painting, my It is only I’m doing. what t the in ha the artist’ or an unconscious molded b “. . . the fact that good European moderns are now here is very important, is very moderns here now good European are “. . . the fact that “When I am om the lack of of conscious control in these paintings, paint application ysical act of an image out of creating or to the formation of materials, real tor, to say nothing of to say tor, non-uniformity if in the paint. Even automatism, deny we aintings get to be w P after a sort of been about.” I have I see what that ‘get acquainted’ period (13): statement an earlier Again, from bring with them an understanding of they for of the problems I modern painting. with their concept of impressed am particularly of the source art being the uncon- . . . than these specific painters do. me more Thisinterests idea scious. Aside fr First, part of (12), made in 1947: Pollock by a statement ling completely out of low oflow be simul- cannot possibly not in contact with the canvas a source fluid paint from t in some of paintings of Pollock’s differently- example) 1950,” for period (in “One, this chance imagery george brecht george imagery chance tha of streams colored in a com- resulting other after application, into each flowed paint have ming of sources as valuable consistency and integrity, primacy, used with such imagery. affective paint when it hits the canvas can be predicted. Some of can be predicted. it hits the canvas paint when the are example, for these variables, of rate density, paint viscosity, of speed and configuration instant; and direction, any flow at the applica and claim omniscience f As far as painting and observer. effect their in an interaction between have and they material, the ability of that has demonstrated is concerned,the observer Pollock humans to appreciate the general term like to introduce I would is almost unlimited. Here chance-images complex to apply to our formation“chance-imagery” of these wherever chance, from images resulting “imagery” enough, I think, to apply is intentionally ambiguous (The word occur in nature. either to the ph there are technical reasons for looking at this complex of this complex looking at for reasons technical are there forms interdependent as predomi- of the infinite number one thing, For events. nantly chance in determining involved variables the f taneously taken into account with suf 1947-1951. ubuclassics ubu.com e is something direct and e is something direct her pting it, we transcend our- pting it, we , from a starting point of, from pre- . T ther acce constructed ypocrisies 12 .” , as well as himself. , as well esting to look at these developments in the use of these developments esting to look at in chance y by abstraction from a more complex system.) One reason for system.) One reason complex a more abstraction from y by e tur tes na , and in our submitting to it, or ra entionalities and their artificial h here is something divine in being spontaneous and not being hampered by hampered is something divine in being spontaneous and not being here v I think it is inter This leaves “art” to mean something “art” to mean something This leaves “T and becomes one with into Nature it merges “Our inner life is complete when this essential oneness with all ofWhen an artist achieves he everything nature, ed notions, with the corollary that as art approaches chance-imagery, the artist chance-imagery, as art approaches that with the corollary ed notions, Reason has cut man off nature from Historical Concurrences: Statistics, Science and Philosophy Statistics, Historical Concurrences: Hans Arp (16) “ tes illumina es.” (14) es.” y mean. In this respect Nature is divine. Its ‘irrationality’ transcends human doubts Its ‘irrationality’ is divine. Nature y mean. In this respect ea chance imagery george brecht george imagery chance or ambiguities an image in the mind, sa an image same images in the chance dancer’s poet’s, musician’s, is to place the painter’s, doing this of (the configuration chance-images conceptual as natural category grasses, the meadow arrangement of an artist the idea that from bottom), and to get away stones on a brook of the world and beyond makes something “special” Alpine peak or An things. ordinary of all the subtle power times with us at an iris petal can move or one of a “Night Watch” themes ofthe profound images moving why 131. There is no a priori reason Opus only with artists. should originate conceiv enters a oneness with all of by expressed This idea has in essence been well nature. Suzuki: human con in this lack offresh and suggests a divine freedom human, which anything by restraint of out it acts directly deliberates; never Nature creativity. this heart, whatever its own ma it.” (15) cr selv

ubuclassics ubu.com Liber finally Liber de Ludo Aleae thematician and gambler) wrote his and gambler) wrote thematician mal law,” describing the distribution of describing the distribution mal law,” 13 , was both ma obert Hooke suggested that the pressure of the pressure obert Hooke suggested that a gas was due to the so-called “nor , himself ter R ho hard, rapidly moving particles on the walls of rapidly moving hard, the containing vessel, s la e exerted by it on a closed vessel, and tried to account for this behav- and tried to account for it on a closed vessel, by e exerted chance began to collect in the sixteenth century, and about 1526 beganto collect in the sixteenth century, chance tion of ear ula dano (w essur m , in which a probability was calculated by theoretical argument for the first for argument theoretical by was calculated a probability , in which the eighteenth and beginning of the nineteenth centuries. enty y or ames of w We now wish to trace a concurrent thread of thread wish to trace a concurrent now We specifically in in physics, events The first questions regarding probability were formulated by gamblers, and gamblers, by formulated were The probability first questions regarding g e of olamo Car probability applied to gaming. In 1733 De Moivre, the English mathematician, pub- the English mathematician, In 1733 De Moivre, applied to gaming. probability ere found to describe the distribution of distribution to describe the found ere errors of social sci- in astronomy, observation as and the pr tur chance imagery george brecht george imagery chance the impingement of of the explanation in 1738, by was followed, and this work Daniel Bernoulli Boyle’s that ior by comparing the gas particles to little springs lying on each other, which coil and which other, comparing the gas particles to little springs lying on each ior by uncoil. T appeared in print) Robert Boyle had described the relationship between the volume of the volume between had described the relationship Boyle in print) Robert appeared a g de Ludo Aleae of number subject to a great events influences, and these results independent chance w of the work through largely sciences, ence and the physical about Laplace and Gauss, the end of the kinetic theory of Cardano’s before years In 1661 (two gases. time. In the seventeenth century, Galileo, Pascal and Fermat carried further the concepts and Fermat Pascal Galileo, century, In the seventeenth time. of lished his f painting against of a background understanding of growing our in other fields chance The of conjuncture centuries. last several the over theory with mathematical statistical of in a reformulation ultimately occurred about 1860, resulted which physics, our con- cept of of the workings of the requirements nature; phi- classical which strict causality, of the mechanics as an a priori principle underlying had regarded losophy the universe, ofmeasure a by replaced were of The predominance probability. to way cause thus gave ofthe predominance seems chance-imagery in which 17), and a climate (see ref. chance grew concomitant up. an almost inevitable games of for perhaps this is natural, go far back into history and prehistory (at chance 18). The liter- ref. David, instance, for (See, millennia B.C.). and fourth least to the third a Ger

ubuclassics ubu.com . erage v 14 erage of of the speeds The phe- the individual molecules. v xplains why heat ordinarily travels from a hotter body to a a hotter body from travels ordinarily heat xplains why individual molecules about this a his e y the a . T pendent causes, the magnitudes ofpendent causes, Thus a due to chance. were which ents speeds of v temperature as an effect, measured, for example, by the expansion of expansion the by example, for as an effect, measured, temperature mer- inde ously proved by Lorentz in 1887, following a method developed by Boltzmann in 1868. by a method developed in 1887, following Lorentz by ously proved The subject of until dormant gas kinetics then lay years, almost a hundred for Maxwell’s conclusion* was that the distribution of the distribution conclusion* was that Maxwell’s speeds of the molecules was ution of oscopic behavior ofoscopic behavior its temperature) by example, a gaseous for mass (as exhibited, t the same speed. Since the molecules must frequently collide, changing their speeds changing collide, frequently t the same speed. Since the molecules must verage speed ofverage the effect of for the gas molecules (allowing collisions), and also the *Rigor pendent e w would be true if be true w would the particles of size. to be infinitesimal in considered a gas were umber of chance imagery george brecht george imagery chance colder, and not the opposite way. We expect an ice cube placed in a glass an of expect We way. and not the opposite colder, at water and the ice the liquid becomes cooler, in a cooler mixture; result to temperature room the ice cube to the warmer from liquid, leav- to travel the heat do not expect We melts. colder ice cube and warmering a yet La the first was made in halfnew progress of (1848) Joule when the nineteenth century, the kinetic energy of that showed tempera- to the absolute gas is proportional molecules ofture treatment rigorous and more the subject both a wider then gave Clausius the gas. understanding ofin a theoretical resulted (1857), which pres- volume, the simultaneous deter- been empirically had already which in a gas, relationships and temperature sure turned which out however, simplifying assumptions, made several mined. Clausius had as mov- to be considered all the gas molecules were he had held that for to be untenable, ing a if collision, even with each the speeds of initially equal, they all the molecules were set out to determine Maxwell Clerk James later years Two long. not be equal for would the a distrib nomenon of large to a very but not to a cause, attributable was therefore curya thermometer, in n in the amount ofchange of in an average means a change energy in a body heat many inde was to be described b described by the normal law, brought into scientific considerations by Gauss. That is, the is, That Gauss. by into scientific considerations brought the normaldescribed by law, macr

ubuclassics ubu.com man, sus probabilistic predic- sus probabilistic er e (as Laplace actually did) a super strict causality v 15 elopments do not in themselves require us to require elopments do not in themselves ypothesiz v e might h t these de these questions of or w , f gue tha , Heisenberg showed mathematically that it was not possible to deter- to it was not possible that mathematically showed , Heisenberg esolution of ed. e might ar he causal descriptions of such is, then, (that (and philosophy) classical physics he r T T W ecision with which the momentum ofecision with which was increased, was measured an electron or even when the photon itself when or even obser- instrument for is used as the most sensitive , f liquid. This of is the essence of Second Law the so-called Thermodynamics, and . es chance imagery george brecht george imagery chance statements as: “When A happens, then B will always happen”) are idealizations, or sim- idealizations, happen”) are then B will always as: “When A happens, statements vation ofvation of it has the same order these elementary particles, magnitude as the objects being observ to whom the exact motion and speed of the exact to whom would and who known, molecule were each ofthus be capable the motion of calculating specified length of molecule after any each time of publication Heisenberg’s tion came with Werner his principle of indeterminacy in 1927. Specifically ofmine both the position and the momentum that is, that the same time, at an electron as the pr the position of with which the precision necessarily was measured the electron This interpreted was later as reflecting our inability to meas- and conversely. decreased, of the characteristics ure smallest particles without disturbing the particles them- the selv this principle is made understandable by Maxwell’s statistical interpretation of statistical Maxwell’s by is made understandable this principle gas kinet- because this interpretation lets us formics, a conceptual model of of a mixture gases high-energy molecules of in which temperatures, with different the warmer col- gas are molecules ofliding with low-energy imparting some of the cooler, energy their in the is a total amount ofcollision. The result falls somewhere after mixture, energy which, of the extremes between amounts of of volumes original the two energy possessed by based on summation averages, are variables observable Since the macroscopically gases. of becoming colder as our ice-cube-in-water such an event events, individual chance deterministic a of by law not impossible becomes, only highly improbable, but nature, ofbased on laws probability. abandon strict causality

ubuclassics ubu.com eryday v wledge, without which wledge, kno y it is used in e ganization of vaded, so that the images have their the images have so that vaded, or the or eichenbach (19) eichenbach 16 ument f le instr .” Hans R ,” and conscious thought is e d “random,” though “random,” in the wa trix of to incentive have we it was produced, the time in which or h abstract truthsh abstract the actual state of state the actual statements can do is to make The affairs. best we e “hand-made ely say random, and it should always be understood here that the technical that be understood here random, and it should always ely say Chance images are characterized by a lack of by characterized Chance images are design. When these conscious “. . . Reason is an indispensab Thus chance became an underlying principle of an underlying Thus became chance our world-view. Of of result the direct is chance-imagery mean to imply that don’t we course, tic” to the w e have only been able to hint at the parallelism in these trends here. the parallelism in these trends to hint at only been able e have Randomness chance imagery george brecht george imagery chance facts offacts kind could not be known. abstract The a more senses do not showthe planets move me that in consists of the sun, or that matter ellipses around atoms; it is sense observation in combination with rea- soning that leads to suc images ar of areas in deeper-than-conscious source term the Surrealists’ will prefer the mind, we “automa look for the trends in contemporary art which are consistent with analogous trends in consistent with analogous trends are in contemporary art which the trends look for digres- seemed like an over-long have though this must Unfortunately, these other fields. sion, w plified models of plified models degreewith a high of happen in a cer- “When A happens then B will (e.g., probability oftain proportion of the causal structure describe cannot exhaustively we cases”), for system. real any ofthe artists’ knowledge of the works only mean that We trends. these artists are great ofproducts of welter interacting complex, the same cause and effect out of came which ofthe results If physics. mathematical of art history that to show believe we the past has fit into the cultural ma “without definite aim, direc- example, for (as meaning, might seem appropriate speech, “random” to to restrict this usage in order will prefer 20). We ref. or method,” tion, rule, it applies to special where commonly in statistics, it has more meaning which a technical The termfor “strict randomness” is useful bias in sampling. eliminating for techniques in general, we but, sense, random is understood in this technical the word ensuring that shall mer

ubuclassics ubu.com ve made ve videnced. endall and Smith (21) ha , was e , K hoice wing have all been found to give results wide- results to give all been found wing have 17 y, before the ears of before y, had formed, in wheat while en ticket-dra v emely tall or short plants tement: , e xtr op yields esting sta cr ning a general bias in human c oiding the e v ve attempted some one-hand typing of some attempted ve series of and found random digits, ule and Kendall (22) have given an example of an example given (22) have ule and Kendall was detect- bias which human It remains to indicate, then, what this technical meaning comprises, recognizing comprises, meaning this technical then, what to indicate, It remains Concer I ha “It is becoming increasingly evident that sampling left to the discretion of sampling left to the discretion that “It is becoming increasingly evident a Y wing inter d selecting taller shoots in Ma ollo war heat plants were to be measured at two stages in their growth. Ofin their growth. stages two at to be measured plants were heat the sets of eight xistence of it. House-to-house sampling, to avoid endeavouring or indeed actively bias, chance imagery george brecht george imagery chance not only a bias toward a greater frequency of frequency a greater not only a bias toward of higher digits (regardless the hand used meaning is implied. Chance is sometimes used in painting in such a way that the images that a way painting in such sometimes used in implied. Chance is meaning is to chance-images refer can only we random, and here nor automatic clearly neither are or chance-processes. the importance of for in general, the reason that, purposes randomness for of scientific the elimi- is, that arts, its importance in the for will be the same as the reason inference ofnation strict randomness is difficult that to achieve; obvious It is not intuitively bias. of the general presence let us indicate therefore or ordinary human choice bias where insight into approaches us an intuitive This will give involved. systems are mechanical ofcapable of definition and will lead finally to a working bias, eliminating randomness itself. the f of be completely unconscious he may human individual is not random, although the e the sampling of expectation.” from ly divergent ed in the course of agricultural carried out in England. experiments The heights of w of each at measurement plants sampled for ran- selected “at were two stages, the two Analysis of strictly random methods. selected by and the other six were eye, dom” by the was a clear bias there eye, in the samples selected by that, clearly showed measurements to selecting plants of another bias toward after further maturation, June, like average more height, and a

ubuclassics ubu.com t tests , it was made the fact tha Psychopathology of cadavre exquis cadavre .) or a month, in spite of 18 oided. has also used this technique oided. John v uously f ent a compound of independent events, or more two v wing) was a vent can be made more nearly independent of nearly can be made more vent other, each hance-e ent (dra v e-engineering to eliminate bias, was found again to have statistically again was found to have bias, e-engineering to eliminate y one person to foresee the overall result of result the overall y one person to foresee combining the independ- these faces 24,576 times. These three faces actually occurred 25,145 faces actually occurred These three these faces 24,576 times. , after running contin The Basic Writings ofThe Basic Writings Freud Sigmund in hance-e or an One might expect to avoid human bias by using mechanical systems, but expe- but systems, using mechanical by human bias to avoid One might expect to compound resorting by First, it can be reduced can bias be avoided? How By making the c le f umerical data such as shipment weight, revenue, car serial number, etc., were used as a etc., were car serial number, revenue, as shipment weight, such umerical data hance events, and, formally, it can be eliminated by the use of by it can be eliminated and, formally, hance events, random numbers. or the typing), but also peculiar patterns in the series; digits being followed unusually also peculiar patterns digits being followed in the series; but or the typing), chance imagery george brecht george imagery chance ently contributed parts ofently contributed of bias in the relationship so that the drawing, elements in the compound c independently pianists play of four wherein Pianos,” Four in his “Music for other, each and melodic pattern of being thus freed rhythmic the resulting In fact, personal bias. of a table to generate way, has been used, in a much-refined this technique strictly ran- 25). Commission, ref. Commerce the Interstate by dom numbers (those published Independent columns of the commission deriving from by received waybills digits from n Everyday Life impossib f of discussion an interesting (For example. for digits, certain other often by num- chance see section 12 of on this subject, references and further bers, Freud’s Perfectly systems. mechanical it is not easy to find simple unbiased that rience has shown seem cubical and homogeneous dice, like perfectly wheels, roulette balanced coins and if in nature, to occur rarely dice 4096 twelve threw example, (23), for Weldon all. at of unbiased dice the probability For times. he should have a 4, 5 or 6 is 1/2, so that obtained one of analog of an electronic Even significant bias. is a statistically which times, a roulette of the RAND Corporation the generation for by built wheel, after careful random digits, engineering and r significant biases equipment itself the electronic showed (24). to be in good order c elements in the compound e in the Surrealist example, For and thus biases can be avoided.

ubuclassics ubu.com , the method . Practically speaking alue lished v , etc.), components of t the proportional occurrence of occurrence t the proportional digit that e-estab 19 , and tha the medium (brush, drip tor dimensions, etc.), and any other characteristics of other characteristics etc.), and any tor dimensions, interest. all the other digits tion of , at the other extreme, random number tables can be used to deter- tables random number the other extreme, , at applica lack, or ence of r It is practical to use coins, dice, or a roulette wheel where only a limited num- where wheel or a roulette dice, It is practical to use coins, Tables ofTables means of reliable and a convenient random numbers provide avoid- independence then, implies an ofRandomness, from individual choice each ays ofays Chance Invoking mined by the number and nature of and nature the number mined by the selection is to be which the elements from W selections in the arts is largely making random or chance for chosen The technique t in the table as a whole, the proportion of the proportion as a whole, t in the table close to one- digits 5 should be reasonably hite-on-b chance imagery george brecht george imagery chance (brush width, applica made. In addition, the degree In addition, ofmade. randomness of the finished image can be made as a coin can simply be example, For and capabilities allow. desires as the artist’s great or tossed to determine image shall be painted in black-on-white a pre-selected whether w deter and shape of etc.), size paper, (canvas, mine the field material the field, medium, colors, method of in the long run is arbitrarily close to some pr in the long run is arbitrarily close to some basic set from which the final set was derived. the final which basic set from random selection of allow because they convenient ing bias in selection; which anything Tests random. to be statistically can be verified they because reliable can be numbered, The 21 and 26. in references described are tables in random number randomness for use of of tables section on briefly is random numbers in the following described methodology. being sam- the characteristic plus an aggregate impartiality toward other choice, every ofpled. In tables of a state example, for random digits, randomness implies both that ofthe occurrence is independent of a particular point in the table digit at particular any the occur the digit 5 in a certain place is just as as the RAND table, such in a table this means that a 0, 1, 2, 3 or 4, and also by a 6, 7, 8 or 9 as it is to be followed by likely to be followed tha tenth.

ubuclassics ubu.com ways. When coins are ways. n , for example. If example. , for to con- desire we . Two coins can fall in three different coins can fall in three . Two om 3:4, or the dice can be thrown one after om 3:4, or the dice can be thrown 20 le fr e to get all tails e ar , as w our coins f the chance process. the chance der to make 4:3 distinguishab arious outcomes, or ofarious outcomes, to obtain the situation devices using sophisticated One coin can fall either heads or tails For convenience, I have listed these techniques below, with some examples. below, these techniques listed I have convenience, For tions are not equally likely. We are six times as likely to get two tails and two two six times as likely to get are We not equally likely. tions are v elements are available for selection. Where the number of the number selection. Where for available elements are these elements is large, or making chance selections, therefore, it is necessary to know the nature of it is necessary the nature to know therefore, selections, or making chance the Dice having to flexibility, limited with respect somewhat The six-sided dice are ordinary Coins chance imagery george brecht george imagery chance used f due to the char- prejudice to avoid order in can occur, which outcomes (events) possible acteristics of the other instead of together. sider HT different from TH, then two coins can fall in four different ways (NH, HT, ways different coins can fall in four TH, then two from sider HT different and n coins in 2 ways, in eight different coins TT), three TN, once lead to the same complica- dice used at or more Two only up to six spots per face. tions as met with in the use of the necessity either of is, that coins, the proba- knowing bility of dice of Two to probabilities. with respect desired be may example, for colors, different used, in or ways: both heads, one head and one tail, or both tails, and in general n coins can fall in one head and one tail, or both tails, both heads, ways: the different than one coin, however, more With to order. without regard n + 1 ways, combina heads in a toss of ber of be the elements can Where found. be and others must unwieldy, become techniques of tables numbered, otherwise automatism, easy to use, relatively are random numbers want of (for which flexible approach, or a very the “irrele- called a better name) I have can be used. process,” vant to add to the list. be able may Readers

ubuclassics ubu.com motion in the dance. ell anthology (6). ection of 21 . mine dir der y page or y is printed in the Motherw ed in an y hance-process by definition, and probably the most commonly used among the most commonly definition, and probably by hance-process A c Metal-bordered paper tags in a bowl provide a very convenient universe of universe convenient a very provide paper tags in a bowl Metal-bordered Card shuffing must be very thoroughly done in order to approach randomness. to approach done in order thoroughly be very shuffingCard must Though a die is now by definition cubical, analogous devices can be (and have analogous devices definition cubical, by Though a die is now not are but available, readily are with 36 compartments wheels Small roulette Another form of in children’s found sometimes is that wheel the numbered Automatism Bowl Drawing Cards Numbered Wheels Numbered le Brown has used the technique analogically in his “25 Pages” (of analogically in his “25 Pages” has used the technique le Brown notation), musical ylor has used this method to deter ranged in this wa a hance instructions, ifhance instructions, had the after having mixed and thoroughly carefully the tags are chance imagery george brecht george imagery chance “action-painters.” c original set of to being instructions written on them. Some elements lend themselves of tapes containing a population magnetic example, without coding; for directly, drawn A poem of directly. and drawn in a bowl mixed sounds can be cut into lengths, Tzara’s ar Ear designed to be pla been) constructed with other than six faces. David (18), for example, describes a rock describes example, (18), for David than six faces. with other been) constructed ofcrystal polyhedron Greece. back to ancient dates faces which numbered twenty quite and gives however, to use, convenient is very Thelikely to be unbiased. device to arrange the elements wheel has used the roulette series. chance usable and scroll. match-box, bell, flute, voices, five in a composition for series of with a circular a card games, can be spun. Paul and a pointer which numbers, T

ubuclassics ubu.com , der e in or v 22 lock of is: the RAND table digits from Eight tables ofEight tables one or but of, I know that been published, have random digits eading left-to-right and top-to-bottom, and connecting the points abo Random Numbers Random 3 12 . . . 4 5 6 . . . 7 8 9 . . . A random b 25412 49703 72007 32309 02069 R chance imagery george brecht george imagery chance two oftwo of in print. Two no longer these are cited been have available most readily those is choice a random which from the elements 25. After numbering 24 and in references direction. in any point and reading any at is consulted, starting the table to be made, of number Numbersthe requisite with occur as they taken in the same order digits are selected (if use and those previously for those too large discarding in the table, unusable 1 to 9: on a field, and numbered chosen nine points are example, For reason). that for obtain the random pattern:we ubuclassics ubu.com , objets trouves rained in our eferably give an irreg- give eferably regular surface trace a regular er an ir v h is independent of the character- hic olled o or escaping the biases eng he method should pr les r . T 23 es those elements w . Inked marb vides a means f o selection of paper, and placing notes on the staffpaper, certain minute where points at est in the elements themselv les from each other (Brecht: “7-57”). other (Brecht: each les from Chance in the arts pr More remotely, significant images occur as the result of significant images occur as the result remotely, More which over processes In general, bias in the selection of can be avoided a chance-image elements for John Cage has used this approach in a composition for orchestra, ruling a staff orchestra, in a composition for Cage has used this approach John inter Coda The Irrelevant Process Irrelevant The Less naive approaches suggest themselves; placing the points unevenly (at will) (at points unevenly placing the suggest themselves; approaches Less naive sonality by our culture and personal past history, that is, it is a means of is, that and personal past history, our culture sonality by attaining e exercise no selection at all. The most moving collage I ever experienced was the 4 x was the 4 experienced collage I ever all. The most moving no selection at e exercise y using a method of chance imagery george brecht george imagery chance per pattern determined by unforeseen imperfections in the surface and chance rebounds of rebounds pattern imperfections in the surface and chance determined unforeseen by the marb w side of24 foot carrying a truck a piece of boilers, with other irregularly patched canvas pieces of of canvas shades of various and the classical Map patterns, gray. within this principle. also seem includible would b (Brecht: “Random Form R3”) , using consecutive sets ofconsecutive R3”) , using Form “Random (Brecht: as sets of random numbers two systems for Such R4”), and so forth. “Random Form (Brecht: Cartesian coordinates process A special random obtaining visual forms almost indefinitely. can be elaborated to in statistics model developed a theoretical in the ‘Random Walk,” exists the dancer for of movement) things) the random motion (Brownian describe (among other parti- small impacts. chance numerous liquid, and acquiring their motion from cles suspended in a 27.) (See reference istics of pattern ofular and unforeseen selection. on a sheet of imperfections in the paper occur greater generality. The result is a method of The result generality. greater The meth- with wide application. approach

ubuclassics ubu.com voir apercu, entre cent experiences, entre apercu, voir 24 . Mon merite est d’a oir v e e have only incidentally touched on here. One hopes that so-called One hopes that on here. only incidentally touched e have t an increase in our ability to recognize significance in the chance- in our ability to recognize t an increase lo Picasso (29) ture presents all about us will mean an end of presents ture the personal activities ab h comes about from such activity: activity: such h comes about from e toute logique, c’est qu’on attend quelque chose d’un hasard, que cette d’un hasard, quelque chose c’est qu’on attend e toute logique, h na hic .” P ’aurait pas su pr hic I doubt tha emotions his own need to discharge “The painter makes paintings in the urgent of vehicles are “Pictures passion, of luxuries like not pretty all kinds and orders, fall short of we But it seems to me that of the infinite expansion the human chance and randomness can be applied to the selection and arrangement be applied to the selection randomness can and of chance or which we are searching, when we recognize only images which are artifacts. We artifacts. are only images which recognize we when searching, are we or which elease w hich we have been calling art. The artist will probably continue to make significant continue been calling art. The artist will probably have we hich chance imagery george brecht george imagery chance w of and because occur in nature, images rarely both because some such images, a person- al r ods of to three-dimensional the dancer, pace by and to movement the composer, sounds by by to linguistic elements the painter, surface form to and color by the sculptor, form by chance and it to be, conceive we what is the universe us that the poet. Science tells the conception is only partly con- be (for it to us to determine conceive enables we what scious). The of receptacle becomes open-ended, and to the artist thus forms available embraces all ofeventually of the recognition for nature, significant form becomes limit- the infinite range of too that be obvious It must self. the observer’s ed only by applica- tion of of the matter these methods is compounded when is also considered, materials and this is a subject w the classical oil medium with the same look beyond painters will some day avant-garde did in his field, in 1948. (“Quand on Schaeffer Pierre say, that, open-minded receptivity s’entete contr logique n fallait-il Encore l’evasion. qui creait que les autres, aussi decevant apparement celle, (28) l’audace de generaliser.” avoir images w and visions this passion is limited. For and to receive the capacity to give In our society, sports cars. the act ofreason, of not the production is a deep painting human necessity, a hand- (30) Motherwell Robert made commodity. spirit f

ubuclassics ubu.com 25 , 1965 In 1957, when this article was written, I had only recently met John Cage and met John was written, I had only recently this article In 1957, when ember v AN AFTER-NOTE “Chance- to re-work. work farther on the spiral, and I prefer eight years are We No chance imagery george brecht george imagery chance are capable of capable are than that. more ofimportant implications the most that seen clearly had not yet in his work lay chance of the resolution foreseen Nor could I have than in Pollock’s. rather distinction the work. own was to occur in my which and chance choice between Imagery” in the form it was originally written. is presented in which ubuclassics ubu.com . . . Edited by Alfred H. Barr, Jr. Barr, H. Alfred . Edited by . Quoted in Motherwell, p. xxix of p. . Quoted in Motherwell, The Dada Painters and Poets: An Anthology Poets: and The Dada Painters .” Quoted by Georges Hugnet in one of Georges .” Quoted by 26 ealist Manifesto r Fantastic Art, Dada. Surrealism Fantastic st Sur From Baudelaire to Surrealism Baudelaire From Psychopathology of of The Everyday Life. Writings Basic Sigmund Freud eton. “Fir e Br riet and Sidney Janis. “: Anti-Artist” (1945). Motherwell, Duchamp: “Marcel Janis. riet and Sidney an (Hans) Arp. “Dada Was Not a Farce” (1949). Motherwell, p. 294. p. (1949). Motherwell, Not a Farce” “Dada Was an (Hans) Arp. eference (5) Har 92. p. Motherwell, and bitter love.” love “manifesto on feeble Tzara. (6) Tristan list of “A 65. Jr. p. (7) A. H. Barr, media.” Barr, techniques, devices, (8) Gabrielle Buffet-Picabia, “Some Memories of Picabia and Duchamp” Pre-Dada: (9) J (4) Andr R Dada” (1922). on “Lecture Tzara. (1) Tristan Freud. (2) Sigmund Raymond. (3) Marcel eferred to as “Barr.” eferred chance imagery george brecht george imagery chance Third edition, The Museum of this book is 1947. Hereafter Modern Art, New York, r 306. Appendix C, p. 266. p. (1949). Motherwell, the Introduction. Edited by Robert Motherwell. The Documents of Motherwell. Robert Edited by Modern Wittenborn, Art series. this anthology to “Motherwell.” abbreviate hereafter will 248. We Inc., 1951, p. Schultz, York, New Random House, A. A. Brill. The Modernby English Library, translation 164. 1938, p. for essays introductory his two

ubuclassics ubu.com nia y , vol. 61. , vol. or , vol. xxiv, , vol. Calif Bulletin . Edited b sity of er . Suzuki Arts and Architecture ord University Press, University ord . T D . Univ . Oxf (N.Y.), no. 1:79, Winter 1947-48, pp. 1947-48, 1:79, Winter no. (N.Y.), ol. 42, parts 1 and 2, June 1955, p. 1. 1955, p. ol. 42, parts 1 and 2, June ritings of 27 Possibilities Selected W Scientific Philosophy he Rise of . 256. T sity College London, v h. er al Philosophy of Cause and Chance Natur . Univ henbac n. eic . Suzuki. “Zen Buddhism.” . Suzuki. Ibid., p . T . T Biometrika ean (Hans) Arp. “Notes from a Dada Diary.” Motherwell, p. 222. p. Motherwell, a Dada Diary.” “Notes from ean (Hans) Arp. .” (18) F. N. David. “Studies in the history of David. N. (18) F. I. Dicing and and statistics: probability (19) Hans R (10) Tristan Tzara. “Lecture on Dada” (1922). Motherwell, p. 247. p. Motherwell, on Dada” (1922). “Lecture Tzara. (10) Tristan of Catalog (11) Sam Hunter. show. retrospective the 1956 Pollock “My Painting.” Pollock. (12) Jackson (a questionnaire). Pollock” “Jackson Pollock. (13) Jackson (14) D (15) D (16) J (17) Max Bor ess, Berkeley, 1951. Berkeley, ess, chance imagery george brecht george imagery chance Pr London, 1949, p. 92. London, 1949, p. Gaming no. 2 ofno. of the Museum Modern Art. 78-83. 14. 1944, p. 2, February no. 234. Used 1956, p. edition, Anchor Inc., New York, & Co., Doubleday Barrett. William permissionby of Ltd., London. & Co., Hutchinson

ubuclassics ubu.com . . viates . 14th ournal of the mal De .” J y & Sons, Inc., New y & Sons, . Fifth edition, Hafner ile . Editions du Seuil, 1952, p ransport Economics and T ohn W . J eau of . Washington, D. C., May 1949. Copies C., May D. . Washington, , London, vol. CI, pt. 1, 1938, pp. 147-166. pp. CI, pt. 1, 1938, , London, vol. An Introduction to the TheoryAn Introduction of Statistics , Second edition, copyright 1959 by G. & C. & G. 1959 by copyright , Second edition, 28 A Million Random Digits with 100,000 Nor y and its Applications The Advanced Theory of Statistics echerche d’une musique concrete echerche heor tion. ce Commission, Bur A la r pora obability T , Vol. CI, pt. 1, 1938, p. 167. CI, pt. 1, 1938, p. , Vol. Pr . te Commer sta eller re Schaeffer. Schaeffer. re Journal ofJournal Statistical Society the Royal . F . Udny Yule. “A Test of Test “A Numbers Random Sampling Yule. Tippett’s . Udny he RAND Cor Table ofTable 105,000 Random Decimal Digits Webster’s New International Dictionary Webster’s (27) W (25) Inter (26) G Statistical Society (28) Pier (24) T (20) and Random Sampling Babington Smith. “Randomness and B. Kendall (21) M. G. Kendall. and M. G. Yule Udny (22) G. Kendall. (23) Cited in M. G. e available free from the Commission. Refer to Statement No. 4914, File No. 261-A-1. 4914, File No. No. to Statement the Commission. Refer from free e available chance imagery george brecht george imagery chance The Free Press, Glencoe, Illinois, 1955. A description of Illinois, Glencoe, Press, The Free production for the method used of the random digits is contained in the introduction. Statistics. ar Royal 14. 1, chapter 1950, vol. York, Publishing Co., New York, vol. I, p. 199. I, p. vol. New York, Co., Publishing Merriam Co., publishers of publishers Merriam Co., permission. Used by Dictionaries. the Merriam-Webster Numbers.” 1950. New York, Co., edition, Hafner Publishing 16. ubuclassics ubu.com . Frederick A. Praeger, . Frederick Picasso 29 . Sir James Jeans. Cambridge University Press, 1948. Press, Cambridge University Jeans. . Sir James (30) Statement by Robert Motherwell; in “The New Decade” exhibition catalog. in “The New Decade” exhibition Motherwell; Robert by (30) Statement The Growth of Physical Science (29) Quoted by Frank Elgar; in Elgar and Maillard. Frank by (29) Quoted Reading Additional chance imagery george brecht george imagery chance Inc., New York, 1956. York, Inc., New of Museum Whitney I. H. Baur. John Edited by 1955. American Art, New York, ubuclassics ubu.com