Alan Turing

Description (in English)

 

Turing‘s assembly line is a cross between a gameart/artgame and an elearning (automatic learning) project. It was simultaneously developed for the amazing plato systems (automatic learning, 1960+) and for the web. It has been created by the Swiss artgroup AND-OR.ch (René Bauer and Beat Suter) in 2020.

 

As player you are not a user of the universal machine, you are Alan Turing‘s universal machine yourself. Please, sit down and begin to work!

 

You will receive task after task. You have to decide if you want to execute a task or if you don‘t. Of course you will also encounter some errors among the tasks. No program and no coder is perfect! You may even be confronted with exceptions, forkbombs ... and more.

 

Will you be fast enough? How many operations are you able to execute per minute? How long can you keep up the assembly line?

Turing created a slave, that works without thinking, without argueing and without any motivational design - the universal machine is just a bookkeeper with pencil and paper. Therefore Turing serialized everything to simple tasks in a line. He mechanized logic thinking to an assembly line job. And today almost everything is based on this universal (bookkeeping) slave from cars and excel sheets to servers, computers, smartphones and AI. But more and more this universal serf or slave is somehow pushing us to the edge and turns us into “fun slaves” of computers and processes.

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Multimedia
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Description (in English)

Kjell Theøry will be a site-specific mobile Augmented Reality poem mapped visually to geo-spatial coordinates in a public outdoor space in Bergen. The work responds to historical and fictive narratives of Norway as a landscape for exile and escape in conjunction with writings and memories from my residency as a Fulbright Scholar in Bergen last year. It will be accessible for viewing with internet-enabled smart phones and tablets throughout ELO 2015 and will be activated by a brief live event in which I manipulate and read from the virtual space and generate additional material by scanning augmented tattoos on the body of a local male performer. This work evolves out of my AR installation in June 2014 at the Bergen Bibliotek, The Empty House, but will be a substantially new iteration. (Source: ELO 2015 Catalog)

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By Daniela Ørvik, 29 April, 2015
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64-68
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Abstract (in English)

Mark C. Marino explores some of the ways code is used in art practices and how code has been read and interpreted as a complex sign system that means far more than merely what it does. Includes "What Is Code?", "How Is Code Used In Art", and "How Code Is Read".

Pull Quotes

Code is a layer of digital textuality whose pointers lead in many directions. Nonetheless, as the semiotic trace of a process or even as the artistic fodder of codework, code offers an entryway into analysis and interpretation of the particular instantiation of a work, its history, and its possible futures.

By Hannelen Leirvåg, 7 September, 2012
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161-178
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Abstract (in English)

This essay argues that the poetic turn from nothing to form art tends to “diabolic”strategies in present language allowing for a self-referential presentation of cultural distinctions.This poetic deconstruction of symbolic forms such as man/machine, male/female,or 0/1 is closely related to humor and gender in cultural and artistic performances.This shall be illustrated by discussing two examples of language art in the fi eld of digitalelectronics: the interactive installation Die Amme by Peter Dittmer and female extension, asubversive net art project by Cornelia Sollfrank. These projects are interpreted as genderedforms of the poetic as comic self-observation.

Source: author's abstract