這篇論文的研究目的在於探究當今數位科技持續變動的圖景中，藝術家與即時演算生成剪接系統之間的遇合，究竟如何持續形塑著隨機性在藝術中的多變樣貌。藝術家的主體性與隨機性之間的關係是否仍然如同過去一樣，呈現一種消長關係，亦即隨機性是否仍主要被用來作為一種去藝術家主體性的創作策略？藝術家如何透過其感性之眼，以一種超出隨機函式的方式來理解隨機性，並讓機器的自主性與藝術家的主體性交匯出種種「語句戲局」？本文將主要從 JeanFraçois Lyotard 理論中的「微話語」、「歧論」概念，以及 Giorgio Agamben 的「布局機器」等角度，以許家維的《飛行器、霜毛蝠、逝者證言》（2017）、Delphine Doukhan 和 Antoine Schmitt 的《碎形電影》（ Fractal Film ） （ 2013 ） 、 Thierry Fournier 的《預示》（Precursion）（2014）這三件使用了即時演算生成剪接系統的作品作為分析對象，試圖回答上述問題。

This paper attempts to portray how, in the shifting landscape of digital technology, the convergence of artists and real time algorithmic generative editing systems shapes ceaselessly morphing randomness in the arts. Do artist subjectivity and randomness still situate themselves at opposite poles, that is to say, is randomness used as a strategy to disavow the artist's subjectivity, as was the case in the past of art history? This article explains how the sensitive eyes of the artists bring a vision of randomness beyond the scope of random function in programming and therefore marry the autonomy of the machine with the subjectivity of artist to produce diverse games of sentences. Three recent art creations based on the real time algorithmic generative editing system are examined to help provide the answers to the above questions: Testimony of the Drones, Frosted Batsand Deceased (2017) of Hsu Chia-Wei, Fractal Film (2013) of Delphine Doukhan & Antoine Schmitt and Thierry Fournier's Precursion (2014). The main references supporting our analysis are Jean-François Lyotard's “micrology” and “differend”, as well as Giorgio Agamben's “dispositive.”