| Sumario: | Similarly to Emma Kunz, he entered into a I relation i to external forces by recording different I time steps i on a canvas, a process of monitoring that justifies Kunz's drawings' affinity to probabilistic data visualisations.[25] If probability, in broad terms, is the study of the chances of an event occurring or reoccurring, then Kunz's and Duchamp's experiments are I games of probability i as much as "chance procedures". Kunz's I diagnostic images i were, in a sense, data visualisations of random phenomena performing oracular duties: schematic and numerical patterns obtained through data collection and organisations to answer questions and produce evidence to inform decisions about the future. Kunz's oracular techniques are here explained in the contexts of radiesthesia and stochastic methods (from Greek I i : "aim, guess"), as well as data visualisations where probability distributions are used to model I random i processes in fields as diverse as social sciences, information technology, media, and the market. Marcel Duchamp and John Cage, among many other of Kunz's contemporaries, adopted computational methods of data to play with chance, probability and determinism.
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