The Random Arts: Xenakis, Mathematics and Music
Identifieur interne : 000237 ( Istex/Corpus ); précédent : 000236; suivant : 000238The Random Arts: Xenakis, Mathematics and Music
Auteurs : Christopher ButchersSource :
- Tempo [ 0040-2982 ] ; 1968.
Abstract
The glib use of the terms ‘random’ and ‘chance’ in the contemporary arts is almost without exception thoroughly anachronistic. It has been a philosophical and mathematical commonplace since the Port Royal Logic in 1662 and Bernouilli in 1713 that there is no absolute polarity between chance and determinism; that there is, rather, a continuous spectrum between pure chance at one end and pure determinism at the other; that both pure states are rare; and that it is, moreover, possible to argue with as rigorous a logic, with as extended a mathematics and with as fruitful results at the chance end of the spectrum as at the deterministic end: to describe and manipulate degrees of disorder, or the movement from order to disorder and from disorder to order.
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DOI: 10.1017/S0040298200027388
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It has been a philosophical and mathematical commonplace since the Port Royal Logic in 1662 and Bernouilli in 1713 that there is no absolute polarity between chance and determinism; that there is, rather, a continuous spectrum between pure chance at one end and pure determinism at the other; that both pure states are rare; and that it is, moreover, possible to argue with as rigorous a logic, with as extended a mathematics and with as fruitful results at the chance end of the spectrum as at the deterministic end: to describe and manipulate degrees of disorder, or the movement from order to disorder and from disorder to order.</div></front></TEI><istex><corpusName>cambridge</corpusName><author><json:item><name>Christopher Butchers</name></json:item></author><articleId><json:string>02738</json:string></articleId><arkIstex>ark:/67375/6GQ-KQGDQ4MB-N</arkIstex><language><json:string>eng</json:string></language><originalGenre><json:string>research-article</json:string></originalGenre><abstract>The glib use of the terms ‘random’ and ‘chance’ in the contemporary arts is almost without exception thoroughly anachronistic. 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It has been a philosophical and mathematical commonplace since the Port Royal Logic in 1662 and Bernouilli in 1713 that there is no absolute polarity between chance and determinism; that there is, rather, a continuous spectrum between pure chance at one end and pure determinism at the other; that both pure states are rare; and that it is, moreover, possible to argue with as rigorous a logic, with as extended a mathematics and with as fruitful results at the chance end of the spectrum as at the deterministic end: to describe and manipulate degrees of disorder, or the movement from order to disorder and from disorder to order.</p></abstract><counts><page-count count="4"></page-count></counts><custom-meta-wrap><custom-meta><meta-name>pdf</meta-name><meta-value>S0040298200027388a.pdf</meta-value></custom-meta><custom-meta><meta-name>series</meta-name><meta-value>1</meta-value></custom-meta><custom-meta><meta-name>seriesText</meta-name><meta-value>New Series</meta-value></custom-meta></custom-meta-wrap></article-meta></front><back><fn-group><fn id="fn01" symbol="1"><label>1</label><p><citation citation-type="book" id="ref001"><source>Musiques Formelles</source>, Editions <name name-style="western"><surname></surname><given-names>Richard-Masse</given-names></name>, <publisher-loc>Paris</publisher-loc> <year>1963</year></citation>. 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