References
- Aizpuru, M. 2011. “Woman of Action.” In Esther Ferrer: Lau Mugimendutan=En Cuatro Movimientos=in Four Movements, edited by S. Urraca Uribe and M. Mantecón Moreno, 175–199. Madrid: Sociedad Estatal de Acción Cultural.
- Alpert, Richard. 1984. “Tracks of Motion in an Enclosed Space: Connections Between Performance and Visual Imagery.” Leonardo 17 (3): 167–171. doi:https://doi.org/10.2307/1575184.
- Anderson, Douglas R. 1990. “Artistic Control in Collingwood’s Theory of Art.” The Journal of Aesthetics and Art Criticism 48 (1): 53.
- Andreasen, Nancy C. 2011. “A Journey into Chaos: Creativity and the Unconscious.” Mens Sana Monographs 9 (1): 42–53. doi:https://doi.org/10.4103/0973-1229.77424. https://www.ncbi.nlm.nih.gov/pubmed/21694961.
- Apostolou, T. 2019. “Cesion del Control en la Obra de Fermin Jimenez Landa/Ceding of Control in the Work of Fermin Jimenez Landa.” Revista: Estúdio, Artistas Sobre Outras Obras 27: 49–55.
- Apostolou, T. 2021. The Limits of Control: Search for Fine Art Strategies with a Low Level of Control. Analysis of Their Creative Processes. Vigo: University of Vigo.
- Arnheim, Rudolf. 1957. “Accident and the Necessity of Art.” The Journal of Aesthetics and Art Criticism 16 (1): 18–31. doi:https://doi.org/10.2307/427124.
- Beardsley, Monroe C. 1965. “On the Creation of Art.” The Journal of Aesthetics and Art Criticism 23 (3): 291–304. doi:https://doi.org/10.2307/428176.
- Bery, Bryony. 2016. “Through the Large Glass: Richard Hamilton’s Reframing of Marcel Duchamp.” TatePapers (26). https://doaj.org/article/b0ebcc7c85b04c09a271634f5b7f8ce1.
- Bishop, Claire. 2010. Participation. Whitechapel: Documents of Contemporary Art. Cambridge: MIT Press.
- Bork, Alfred M. 1967. “Randomness and the Twentieth Century.” The Antioch Review, Apr 1, 40–61.
- Boucher, Marie-Pier, Patrick Harrop, and Rafael Lozano-Hemmer. 2012. “Alien Media: Interview with Rafael Lozano-Hemmer.” Inflexions 5: 149–160. http://www.inflexions.org/n5_lozanohemmerhtml.html.
- Bourriaud, Nicolas. 2010. Relational Aesthetics. Dijon: Presses du Réel.
- Breton, André. 1987. Mad Love. Translated by M. A. Caws. Berkeley: University of Nebraska Press.
- Challinor, Michael. 1971. “Change, Chance and Structure: Randomness and Formalism in Art.” Leonardo 4 (1): 1–11. doi:https://doi.org/10.2307/1572225.
- Chevrier, Jean-François. 2008. “La Trama Y El Azar.” In Una Tirada De Dados: Sobre El Azar En El Arte Contemporáneo, edited by Alberto Sánchez Balmisa, 54–86. Madrid: Consejería de Cultura y Turismo.
- Collingwood, Robin George. 2016. The Principles of Art. Charlottetown: Ravenio Books.
- Cormier, Ramona. 1975. “Indeterminancy and Aesthetic Theory.” The Journal of Aesthetics and Art Criticism 33 (3): 285–292. doi:https://doi.org/10.2307/428354.
- Dezeuze, Anna, ed. 2010. The ‘Do-it-Yourself’ Artwork. Manchester: Manchester University Press.
- Dezeuze, Anna. 2017. Almost Nothing: Observations on Precarious Practices in Contemporary Art. Manchester: Manchester University Press.
- Díaz, Lily. 2011. “By Chance, Randomness and Indeterminacy Methods in Art and Design.” Journal of Visual Art Practice 10 (1): 21–33. doi:https://doi.org/10.1386/jvap.10.1.21_1.
- Eagle, Antony. 2019. “Chance Versus Randomness.” The Stanford Encyclopedia of Philosophy. Accessed 11 September 2019. https://plato.stanford.edu/archives/spr2019/entries/chance-randomness/.
- Ecker, David W. 1963. “The Artistic Process as Qualitative Problem Solving.” The Journal of Aesthetics and Art Criticism 21 (3): 283–290. doi:https://doi.org/10.2307/427437.
- Eco, Umberto. 1989. The Open Work. Cambridge: Harvard University Press.
- Galanter, Philip. 2016. “Generative Art Theory.” In A Companion to Digital Art, 146–180. Hoboken, NJ: John Wiley & Sons. doi:https://doi.org/10.1002/9781118475249.ch5
- Gamboni, Dario. 1999. “Fabrication of Accidents: Factura and Chance in Nineteenth-Century Art.” RES: Anthropology and Aesthetics 36 (36): 205–225. doi:https://doi.org/10.1086/RESv36n1ms20167483.
- Ham, Ethan. 2009. “Randomness, Chance, & Art.” In Handbook of Research on Computational Arts and Creative Informatics, edited by James Braman, Giovanni Vincenti, and Goran Trajkovski, 85–102. Hershey: Information Science Reference.
- Hernández-Navarro, Miguel A. 2006. La so(M)Bra De Lo Real: El Arte Como Vomitorio. Valencia: Institució Alfons El Magnànim.
- Hontoria, Javier. 2011. Bas Jan Ader: Entre Dos Tierras. Santiago de Compostela: Centro Galego de Arte Contemporánea.
- Hoptman, Laura. 1996. “Drawing on Chance: Selections from the Collection.” moma.org. Accessed 5 July 2020. https://assets.moma.org/documents/moma_catalogue_472_300063149.pdf?_ga=2.118047689.1149525098.1591263811-2136695815.1576232241.
- Iversen, Margaret, ed. 2010. Chance. Whitechapel: Documents of Contemporary Art. Edited by Iwona Blazwick. Cambridge: MIT Press.
- Kant, Immanuel, and Werner S. Pluhar. 1987. Critique of Judgment. Indianapolis: Hackett.
- Krauss, Rosalind. 1986. “Antivision.” October 36: 147–154. doi:https://doi.org/10.2307/778561.
- Krauss, Rosalind. 1999. “Perpetual Inventory.” October 88: 87–116. doi:https://doi.org/10.2307/779226.
- Lappas, G., and J. Tessa. 1990. Dice Works: An Installation by George Lappas. Glasgow: Tramway.
- Lazogas, Giōrgos. 2018. Randomness as Method. Athens: Ethniko Museio SynchronisTechnis.
- Leja, Michael. 1993. Reframing Abstract Expressionism: Subjectivity and Painting in the 1940s. New Haven: Yale University Press.
- Lejuene, Denis. 2012. The Radical Use of Chance in 20th Century Art. Faux Titre. Amsterdam: Rodopi.
- Lippard, Lucy R. 1997. Six Years – The Dematerialization of the Art Object from 1966 to 1972. Berkeley: University of California Press.
- Lomas, D. 2012. “Becoming Machine: Surrealist Automatism and Some Contemporary Instances.” Tata Papers (18).
- Malone, Meredith. 2009. Chance Aesthetics. St. Louis: Mildred Lane Kemper Art Museum.
- Maroja, Camila. 2014. “Approaching Precariousness in Art.” In The Permanence of the Transient, edited by Camila Maroja, Caroline Menezes, and Fabrizio Augusto Poltronieri, XV–XXI. Newcastle upon Tyne: Cambridge Scholars Publishing.
- McKay, E. 2012. “Dissertation: On the Theory of Serendiptology.” serendiptology.wordpress.com. Accessed 5 January 2018. https://serendiptology.wordpress.com/dissertation-on-the-theory-of-serendiptology/.
- Morris, R. 1968. “Anti-Form.” Artforum. https://www.artforum.com/print/196804/anti-form-36618.
- Morris, Susan. 2012. “Drawing in the Dark Involuntary Drawing.” Tate Papers (18). ww.tate.org.uk/research/publications/tate-papers/18/drawing-in-the-dark.
- O’Reilly, S. 2006. “From Chaos to Order and Back Again.” In You’ll Never Know Drawing and Random Interference, edited by J. Walwin and H. Krokatsis, 33–39. London: Hayward Gallery.
- Pollock, Jackson, and Bernice Rose. 1980. Jackson Pollock, Drawing into Painting. New York: Museum of Modern Art.
- Sawyer, R. Keith. 2000. “Improvisation and the Creative Process: Dewey, Collingwood, and the Aesthetics of Spontaneity.” The Journal of Aesthetics and Art Criticism 58 (2): 149–161. doi:https://doi.org/10.2307/432094.
- Susik, Abigail. 2016. “Chance and Automatism.” In A Companion to Dada and Surrealism, 242–257.
- Taylor, Rachel. 2004. “Work no. 233, Martin Creed, 2000.” tate.org.uk. Accessed 10 April 2019. https://www.tate.org.uk/art/artworks/creed-work-no-233-p78388.
- Ward, Frazer. 2012. No Innocent Bystanders: Performance Art and Audience. Hanover: Dartmouth College Press.
- Watson, Allan. 1992. An Exploration of the Principle of Chance as a Stimulus to the Creative Activity Known as Sculpture. Robert Gordon University. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.315420.
- Zanni, Carlo. 2004. “Interview with Golan Levin.” ciac.ca. Accessed 3 July 2019. http://ciac.ca/documents/magazine/no_19/en/entrevue.htm.