University of Virginia Library

Search this document 
Dictionary of the History of Ideas

Studies of Selected Pivotal Ideas
  
  
expand section 
  
expand section 
  
  

expand sectionVI. 
expand sectionV. 
expand sectionVI. 
expand sectionI. 
expand sectionVI. 
expand sectionV. 
expand sectionIII. 
expand sectionIII. 
expand sectionVI. 
expand sectionVI. 
expand sectionV. 
expand sectionV. 
expand sectionIII. 
expand sectionVII. 
expand sectionVI. 
expand sectionVI. 
expand sectionIII. 
expand sectionIII. 
expand sectionII. 
expand sectionI. 
expand sectionI. 
expand sectionI. 
expand sectionV. 
expand sectionVII. 
expand sectionVI. 
expand sectionV. 
expand sectionIII. 
expand sectionIII. 
expand sectionIII. 
expand sectionII. 
expand sectionI. 
expand sectionI. 
expand sectionI. 
expand sectionVI. 
expand sectionVII. 
expand sectionIII. 
expand sectionVII. 
expand sectionVII. 
expand sectionVII. 
expand sectionV. 
expand sectionVI. 
expand sectionVI. 
expand sectionVI. 
expand sectionVI. 
expand sectionVI. 
expand sectionVII. 
expand sectionIII. 
expand sectionIV. 
expand sectionVI. 
expand sectionVI. 
expand sectionVI. 
expand sectionV. 
expand sectionV. 
expand sectionV. 
expand sectionIII. 
expand sectionIII. 
expand sectionVII. 
expand sectionIII. 
expand sectionI. 
expand sectionV. 
expand sectionV. 
expand sectionVII. 
expand sectionVI. 
expand sectionI. 
expand sectionI. 
expand sectionI. 
expand sectionI. 
expand sectionVI. 
expand sectionIII. 
expand sectionIV. 
expand sectionIII. 
expand sectionIV. 
expand sectionIV. 
expand sectionIV. 
expand sectionVI. 
expand sectionVI. 
expand sectionVI. 
expand sectionV. 
collapse sectionIII. 
  
expand sectionVI. 

Images made by chance (or chance images, for short)
are meaningful visual figurations perceived in mate-
rials—most often rocks, clouds, or blots—that have not
been, or cannot be, consciously shaped by men. An
awareness of such images is probably as old as mankind
itself; evidence of it has been found in the art of the
Old Stone Age. The thoughts stimulated by this aware-
ness, however, are not recorded before classical antiq-
uity. As a chapter in the history of ideas, these thoughts
have become the subject of investigation only very
recently, so that the following account cannot be more
than provisional in many respects.

Strictly speaking, an image made by chance is an
absurdity. Explicit, fully articulated images, our expe-
rience tells us, must be the result of purposeful activity,
which is the very opposite of chance in the sense of
mere randomness. The dilemma can be resolved either
by (1) attributing a hidden purpose to chance, which
thus becomes an agency of the divine will personified
under such names as Fate, Fortune, or Nature; or by
(2) acknowledging that chance images are in fact rudi-
mentary and ambiguous, and are made explicit only
in the beholder's imagination. The former view, char-
acteristic of prescientific cultures, is akin to all the
beliefs based on the “ominous” meaning of flights of
birds, heavenly constellations, the entrails of sacrificial
animals, and countless other similar phenomena. It was
prevalent until the Renaissance and has not entirely
lost its appeal even today. The latter view, although
adumbrated in classical antiquity, found adequate ex-
pression for the first time in fifteenth-century Italy; it
has been adopted and verified by modern scientific
psychologists who made it the basis of projective tests
such as the ink blot series named after Hermann
Rorschach. Both views, however incompatible, are
strongly linked with past and present ideas concerning
the nature of artistic activity, in theory as well as in
practice.