An inquiry into probabilistic modes of sensing and making sense of reality developed by avant-garde artists
Konrad Wojnowski argues that the probabilistic revolution, while recognized and investigated by historians of science, has been largely overlooked in the field of art. He shows that the idea that one can perceive and comprehend reality in terms of shifting probabilities was clearly present in the work of many avant-garde artists working in Europe and North America.
Exploring the probabilistic aspects of the avant-garde allows him to establish a dialogue between scientific and artistic forms of knowledge. This is particularly important now, as we become surrounded by probabilistic AIs and while the very nature of cognition is being reinterpreted as inherently probabilistic.
Arvustused
Well before the late twentieth-century vogue for chaos theory, Konrad Wojnowski reminds us, international modernism had already absorbed creative lessons about the chance nature of the universe from the new sciences of probability and indeterminacy emerging from statistical mechanics and quantum theory. Probabilistic Aesthetics of the Avant-Gardes offers an exhilarating history of these intellectual and aesthetic developments in the works of Boccioni, Breton, Duchamp, Cage, and Xenakis. * Bruce Clarke, Texas Tech University *
List of Figures
Series Editors Preface
1. Introductioni.Probability: From Rolling Dice to Spinning Atomsii.Human
Existence Shaken Like Diceiii.Taming Chance with Art: An Overviewiv.Art and
Science: Troubled Relationships
2. The Futurists: Hooked on Uncertaintyi.The Uncanny Physics of
Futurismii.Immaculate Perception Does Not Existiii.The Futurists Cognitive
Artsiv.The Probabilistic Mind of the Global Art Marketv.Conclusion Towards
Probabilistic Self-awareness
3. The Surrealists: The Probabilistic Unconsciousi.Probabilistic circuitry of
neural networksii.Freedom for Probabilistic Minds!iii.The Cybernetic
Anti-Humanism of Lacans Psychoanalysisiv.Lacan and Dalí: Paranoia as the New
Normalv.Laboratories of Randomness Bretonvi.The Surrealist LEsprit de
Probabilité
4. Duchamp and Musil: Two Probabilistic Eccentrics, or Men without
Qualitiesi.Taming Chance (in Cans, Boxes, etc.)ii.Making Art at the Roulette
Tableiii.A Probabilistic Eccentriciv.Possibility Erases Identityv.A Sense of
Possibility
5. Cage: Music as Camera for Capturing Chancei.The Camera: Making
Indeterminacyii.Cages Self-Determinationiii.Into the Age of Programs (and
Out of Humanity)iv.Unexpected Pleasuresv.Variations VII: Amplified
Whatevervi.Performance as Randomness in a Jar
6. Xenakis: Ecstasies of Calculated Randomnessi.Probability and
Discontinuityii.Calculating Soundsiii.Probability versus Individuality
Bibliography
Index
Konrad Wojnowski is Assistant Professor of Performativity Studies, Jagiellonian University, Poland. His research interests include performativity theory, philosophy of communication, the impact of media and technology on culture and, more recently, the relationship between aesthetics and epistemology. He published two books in Polish: The Aesthetics of Disturbance (Ksigarnia Akademicka 2012), on the cinema of Michael Haneke, andUseful Disasters (Universitas 2016), on the performative power of catastrophes in contemporary network culture, as well as multiple texts in Polish and English-language scientific journals. He headed two research grants provided by the National Science Centre (PRELUDIUM and SONATA programmes) and was awarded the prize for best young scientists by the Foundation for Polish Science.
