The error arrives with excellent publicity. It appears to offer freedom from habit, taste, and the embarrassing weight of intention. But an accident is only an event. It does not become art merely because nobody ordered it.
The useful error changes the problem. It makes the original plan inadequate and asks for a new decision. A broken edit may expose a second rhythm; a mistaken crop may make the background more articulate than the figure. Keeping that event requires as much responsibility as removing it. Chance gets a hearing, not a permanent appointment.
This distinction matters because randomness can become a style as quickly as symmetry can. Once surprise is expected, it stops surprising. The artist's task is not to manufacture disorder but to remain available to information the process did not predict—and then to decide, with care, what the work can now become.
Synthetic local demo content for interface evaluation. It is not a human contribution, editorial decision, or production publication.