# Chance and Remix

Four traditions of surrendering authorial control to procedure:
- **Surrealist exquisite corpse** — Breton et al., 1925. Folded-paper collaborative writing/drawing.
- **John Cage's chance operations** — *Music of Changes* (1951). Composed via *I Ching* coin tosses.
- **Burroughs–Gysin cut-up** — *Minutes to Go* (1960). Cut existing text, rearrange.
- **Situationist détournement** — Debord & Wolman, 1956. Re-edit existing media to subvert original meaning.

## When to use

- Existing material feels exhausted; need new structure from same material
- Stuck inside an authorial voice
- Want to interrupt your own taste (Cage: your taste is what limits the work)
- Producing experimental work
- Subverting source material (détournement)

## Don't use when

- You need linear coherence and argument
- Audience requires polish (cut-edges and discontinuities are usually visible)
- Source material has copyright issues you can't navigate
- Using "chance" as alibi for sloppiness (real chance procedures are *strict*)

## Exquisite corpse

Surrealists, 1925, rue du Château apartment. The name comes from the first sentence: *"Le cadavre exquis boira le vin nouveau"*.

**Procedure**: 3+ participants. First writes a sentence fragment, folds the paper to hide it, passes. Second sees only the last few words and continues. Repeat. Unfold at end.

Variants: drawings (head/torso/legs in three folds), single-author asynchronous (write, hide for a day, write next), distributed by chat or mail.

## Cage chance operations

**Procedure**:
1. Define what gets randomized (pitch, duration, dynamics, tempo).
2. Pick a chance device (coin tosses, dice, RNG, *I Ching*).
3. Let the device determine the parameters.
4. Notate / build / perform the result.
5. **Use what comes out.** Overriding for taste defeats the operation.

Variants: time-bracket scores (Cage's late practice — windows within which sounds occur). Algorithmic chance (script-driven). Generative systems (Eno's *Music for Airports*, *Reflection*).

## Cut-up technique

Gysin, Beat Hotel Paris, 1959. Bowie used it for *Diamond Dogs*, *Heroes*, *Outside*. Thom Yorke for *Kid A*.

**Procedure**:
1. Take a page of existing text — your own draft, a newspaper, a manual, anything.
2. Cut into fragments — by line, phrase, or word.
3. Shuffle.
4. Reassemble. Don't force coherence; use the new juxtapositions.
5. Use the strongest combinations as starting points.

Variants: fold-in (Burroughs — fold one page over another). Voice cut-ups (tape splice). Algorithmic cut-up (script).

## Détournement

Debord & Wolman, 1956. Take an existing piece of media and re-edit / re-caption / re-purpose to invert its meaning. The political stakes are explicit: dominant-culture critique using its own materials.

**Procedure**:
1. Select source material whose meaning you want to invert.
2. Identify the *minimum* modification that produces the subversion. (Power comes from recognizability of the source.)
3. Apply: re-caption, re-edit, re-frame, re-context.
4. Distribute.

Examples: Debord's *La Société du spectacle* film (1973) is largely détourned feature footage with new voiceover. May 1968 Paris graffiti détourned advertising copy. Adbusters subvertising tradition.

## Anti-slop notes

- "Generate randomly" without a specified procedure is slop. State *what* is randomized, by *what* mechanism.
- Don't generate cut-up text by guessing what cut-up sounds like. Run the actual procedure on real text.
- Don't romanticize. The procedures are specific.
- Détournement requires a target. Generic "subversive remixes" without specific source-and-target are vibe.

Sources: Cage, *Silence* (Wesleyan, 1961); Burroughs & Gysin, *The Third Mind* (Viking, 1978); Debord & Wolman, "Mode d'emploi du détournement" (*Les Lèvres Nues* 8, 1956).
