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»TT-turing tuning«
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886
Information
Cite
X
Archive of Digital Art (ADA). “ Knowbotic Research - »TT-turing tuning«”. https://www.digitalartarchive.at/database/general/work/tt-turing-tuning.html (retrieved 2010-05-11). @online{ADAartistprofile, author = {Archive of Digital Art (ADA)}, title = { Knowbotic Research - »TT-turing tuning«}, url = {https://www.digitalartarchive.at/database/general/work/tt-turing-tuning.html}, urldate = {retrieved 2010-05-11}
Technology
Display
10000 sound units, result in a continous succession of generations of
acoustically perceivable ordered structures. Evolutionary music: Seen from the musical view-point , the application of biological principles causes microstructural analysis of sounds, a chaotic seriality of dynamic sound structures, high-resolution sensitization in sound transitions - a complexity that cannot be grasped.
The interacting person accepts and modifies or rejects the offered
structures. The machine keeps on processing, until the next generation occurs. The installed "genome library": the long and narrow strip of metal of the TT-turing tuning emphasizes the linear arrangement of the microsound genetic sequences (in this case 5 identical se-quences in comparison to 2 in the biological DNA structure).It also is a metaphor for the linear logic, but the universality of a turing machine, whose successive processing forms the basis of this interactive environment.
The mobile video-projector following the metal strip visualizes a time window extracted from the computer-aided sound system. Visual representations of the acoustic phenomenons are shaped from the designations given by the sound authors. The copying mechanisms, the temporal and local changes of structure and succession of generations caused by the mutation pressure become visible. TT-turing tuning is left on its own. The acoustical representations of the system processes
become only audible by user interaction.

Descriptions & Essays
Recording quality priority: the 16-bit-recording quality is the selection criterion for the sound selection of turing tuning. This results in a "deauthorization" of the sound material from the original context of its production in order to be recombined in an interaction between human and machine factors. The operative loop: this interactive process, triggered by actions with a dataglove, is made audible: Different strategies - the aesthetic-intuitive of the datapool user and the logical rational of the computer aided data system- become transparent. The genetics of sounds (managment of complexity): the manoeuvres of the computer, i.e. the sorting and positioning of sound fragments, are based on biological genetics. The ability for reproduction, external selection pres-sure, and stochastic mutability of a genetic pool, in this case approx. 10000 sound units, result in a continous succession of generations of acoustically perceivable ordered structures. Evolutionary music: Seen from the musical view-point , the application of biological principles causes microstructural analysis of sounds, a chaotic seriality of dynamic sound structures, high-resolution sensitization in sound transitions - a complexity that cannot be grasped. These qualities are produced in a "transient" manner. The perceptibility of this genetic process, which is characterized by recursive repetition, re-membering, and processing is determined by the interactivity of human mind and machine. This forms the aestethic basis of the environment. There is no beginning, no end, and no pause. Aesthetic optimization: Any evolution is teleological, also this artificial, computer-aided one. The machine compiles sequentially ordered structures, which are, by reproducing self-resembling structures, modified according to implemented rules towards an "optimized" status defined on the basis of the relationship of time, volume, syntax, and locality in the system as a whole. The interacting person accepts and modifies or rejects the offered structures. The machine keeps on processing, until the next generation occurs. The installed "genome library": the long and narrow strip of metal of the TT-turing tuning emphasizes the linear arrangement of the microsound genetic sequences (in this case 5 identical se-quences in comparison to 2 in the biological DNA structure).It also is a metaphor for the linear logic, but the universality of a turing machine, whose successive processing forms the basis of this interactive environment. The mobile video-projector following the metal strip visualizes a time window extracted from the computer-aided sound system. Visual representations of the acoustic phenomenons are shaped from the designations given by the sound authors. The copying mechanisms, the temporal and local changes of structure and succession of generations caused by the mutation pressure become visible. TT-turing tuning is left on its own. The acoustical representations of the system processes become only audible by user interaction. (knowbotic research)
Literature
Meyer, Eva. »Me as MacGhillie.« In Opaque Presence. Manual of Latent Invisibilities, edited by Andreas Broeckmann and Knowbotic Research. Berlin, Zürich: Diaphenes Verlag, 2010.
Schmidt, Sabine Maria. »be prepared! tiger!.« Article Artist´s Homepage.
Nechvatal, Joseph. Immersive Ideals / Critical Distances. Saarbrücken: LAP Lambert Academic Publishing, 2009, 2009.
Paul, Christiane. Digital Art. World of Art Series, New York: Thames and Hudson Ltd., 2008.
Popper, Frank. From Technological to Virtual Art. Cambridge, MA: MIT Press, 2006.
krcf. »Transcoding Sovereignty: Naked Bandit/Here, Not Here/White Sovereign.« In Sarai Reader 2005: Bare Acts, edited by Monica Narula and Shuddhabrata Sengupta and Jeebesh Bagchi and Geert Lovink, 111-114. Delhi: Sarai Media Lab, 2005.
Arns, Inke and Jacob Lillemose. »Es arte contemporáneo, imbecil - Comisarios de arte digital para sacarlos del gueto, a minima.« new media, actual art 13 (2005): 164-175.
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