Uncertain or unforeseeable happening; unforeseen success, fluke, eventuality. – Happening that has no degree of normal determination that a man could predict.

It seems clear to me that the new man-machine relationships are substantially changing how we see, perceive, and create.
We know it is difficult to deal with anthropocentrism, with projects appear on a daily basis that relativize our notions of art and of the role that human intelligence has in the image, text, and idea production processes. Perhaps that is why projects with self-generating routines or algorithmic art, or, according to Peter Weibel, with viral procedures, have become one of the most disconcerting fields in new medium creation.

Without considering apocalyptic, integrated, and dazzled views, it seems to be important to evidence that the end of anthropocentrism does not imply in discarding man. Rather, it implies in deconstructing paradigms that have been guiding our cognitive and perceptive systems and which still connect the creation to an author’s name, in a system that makes this name work as a brand that in and of itself is able to give coherence to the whole of a work.
This deconstruction is not done without deep transformation in legal, political, and cultural devices. For it to point to a greater complexity in the collective imaginary, and not its atrophy, it is necessary for interpretative capacity to be taken to the ultimate consequence.
The Internet and digital technology are not merely means of communication. They must be seen as a new “reading machine” that turns each reader into a potential editor. That is why it redirects a few paradigms that successfully guide the methods and forms of production of critical discourse.
One of them, concerns authorship a noun that is threatened of extinction, not because of the ease of reproduction the digital medium allows, which would reduce the discussion to a legal discussion similar to the Xerox problem, rather because it is based on a new writing technology that rebels against its inscription function.
Information technology itself is the technology of replication, cloning. While it allows the production of identical multiples through code-copying, it engenders the cultural and aesthetic phenomenon of a “second-generation original.”
“Here and now” is done with flow. Work is done via linking, it loses the precision of its limits. Thus, we could say:
Plagiarism turned into a recombination strategy. It puts a call on course for the cultural database to be opened in order to restore the dynamic driftage of meaning the market’s ideological game hides under the authorized quote domain.(Beiguelman, Giselle)

Using precisely this ambivalence, or this oscillation between execution simplicity and totality, work with routines are self-generating when confronted with the major dimension of the totalitarian potential the algorithmic code allows us to think of the world as an invisible being under the shadow of the process.
The work the code mediates thus escapes from the classical form of thought (linear) and the electronic text responds to the needs of action and movement, using a hybridized language.
In the digital society, we are surrounded by devices that are capable of generating an infinite number of images. We are captured by and capture images that don’t always make sense. We capture, store, copy, and scan, for the simple pleasure of generating images. Everything around us is framed by the facilitating tools that are at our reach to never again be accessed.
The By Chance project, because of the sequence of virtual images that are captured composes a visual collection, according to the concept of Oliver Grau, one that is magical-ghostly.
Like everyone that has a digital camera or cell phone, I have been storing images. In this project, I explore the images I capture in my daily life, of my friends and relatives, or cloned directly from television, assembled in small “clips” to create an interactive digital film.
The software I use is Director, which adapts to my interaction needs and self-generating routines.
The By Chance project is formed by interactive films that respond to the user’s action to perform art as interactive communication.
The project explores digital technology in such a manner as that during authorship one loses power and control due to sophisticated interactive effects. This way, art is thought of as a social function. A project executed this way is not merely a series of coordinated databases, it isn’t located anywhere, but it contributes to a new way of transmitting information through the action of the reader’s individual visual text.
Like telepresence or telerobotics projects, BY CHANCE also focuses on connections between active points and small manipulable and perfomatic clips to be experimented with in visual dialogue.
Digital language and the Internet are means of communication like television, but interactivity makes true difference with its texts, sounds and images. It involves the audience, sharing distances, experiences of the audience’s reality and imaginary in a new type of public space dialogue.
We can insert points among narratives in order to explore the context and the content they relate to and link them to interaction. Context in digital art work is the tension created between form and idea.
In the Internet, content is dynamic and begins with the first screen when one connects to the computer. Meanwhile, content is the author’s choice and it is what can make a difference of character or interest. The artist has knowledge of the codes, of the databases or of search tools, he or she can change the digital medium using countless different paths.
By Chance aims at exploring the visitor’s imaginary by reading the film that is reassembled in the reader’s action.

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