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TEORIE VĚDY / THEORY OF SCIENCE / XXXV / 2013 / 2
////// tematická studie / thematic articles //////////////////////
THE TURING MACHINE ON
THE DISSECTING TABLE
Abstract: Since the beginning of the
twenty-first century there has been an
increasing awareness that software represents
a blind spot in new media theory.
The growing interest in software also
influences the argument in this paper,
which sets out from the assumption that
Alan M. Turing’s concept of the universal
machine, the first theoretical description
of a  computer program (software), is
a kind of bachelor machine (Carrouges).
Previous writings based on a  similar
hypothesis (Daniels, Baudrillard,
Turkle, Ascott) have focused either on
a comparison of the universal machine
and the bachelor machine in terms of the
similarities of their structural features,
or they have taken the bachelor machine
as a metaphor for a man or a computer
(artificial intelligence). Unlike them, this
paper stresses the importance of the context
(the imitation game of the Turing
test)asa keytointerpretingtheuniversal
Turing machine as a bachelor machine
and, potentially, as a self-portrait.
Keywords: Turing machine; bachelor
machine; Turing test; dissecting table;
magic
Turingův stroj
na pitevním stole
Abstrakt: Od začátku 21. století roste
vědomí, že software je slepou skvrnou
teorie nových médií. Vzrůstající zájem
o  software ovlivnil také tezi předkládaného
příspěvku. Vychází z  předpokladu,
že koncept univerzálního stroje
Alana M. Turinga je jedním z mládeneckých
strojů (Carrouges). Předchozí
texty založené na  podobné hypotéze
(Daniels, Baudrillard, Turkle, Ascott)
se zaměřily buď na  srovnání univerzálního
stroje a  mládeneckého stroje
na základě jejich strukturálních podobností,
nebo užívaly mládenecký stroj
jako metaforu člověka nebo počítače
(umělé inteligence). Na rozdíl od nich,
tento příspěvek zdůrazňuje význam
kontextu (imitační hry Turingova
testu), který je klíčem k  interpretaci
univerzálního Turingova stroje jako
mládeneckého stroje a potenciálně jako
autoportrétu.
Klíčová slova: Turingův stroj;
mládenecký stroj; Turingův test;
pitevní stůl; kouzlo
JANA HORÁKOVA
Masaryk University / Faculty of Arts
Department of Musicology / Theory of Interactive Media Studies
Arna Novaka 1
602 00 Brno // Czech Republic
email / horakova@phil.muni.cz
270
Jana Horákova
The software turn
Since the beginning of the twenty-first century, there has been an increasing
awareness among humanities scholars that software, the internal structure
and the processes performed inside a computer have remained a blind spot
in new media studies. Software had hitherto been considered a tool, a thing
that merely figures in the realm of a machine’s functionality. Now that the
bubble of newness of the new media has burst, it is clear that a systematic
and critical analysis of the functional features of new media and a reconsideration
of them in a historical perspective and in the cultural production
context have yet to be done.1
Inside the black box
The turn to software in the discourse of new media studies has been motivated
by an effort to open up and to analyse the black box of the computer
from the inside. The belief now is that it is not the interface but the inner
structure and programmability of the computer that defines the medium.
Thus, the turn to software marks a shift from interface to the layers of the
new media below the surface, which mostly operate unconsciously.
The internal functional features of computers affect a broad spectrum
of cultural practices that occur through and around them. The power and
influence of computational processes over different cultural practices is even
higher because they have remained in the dark, inside the box, for a long
time. Thus, the black box of the computer must be opened and examined in
the way other cultural products and practices are analysed and interpreted.
From code to context
The paper focuses on Alan M. Turing’s concept of the universal Turing
machine (also just called the Turing machine), which is the first theoretical
description of the computer program (software). The universal machine
has already captured the attention of a number of new media scholars. Approaches
within software studies are represented by Friedrich Kittler and
Mathew Fuller. While Kittler deals primarily with code as the language of
1
For more information on the software turn in new media studies, see: Jana HORÁKOVÁ,
“K recepci informatiky v kontextu společenských věd: Obrat k softwaru.” In: KLÍMOVÁ, H.
– KUŽELOVÁ, D. – ŠÍMA, J. – WIEDERMANN, J. – ŽÁK, S. (eds.), Hovory s informatiky.
Praha: Ústav informatiky AV ČR v.v.i. 2011, p. 117–135.
271
The Turing Machine on the Dissecting Table
programming media, Fuller calls for a broader understanding of the programming
and processes that occur through the computer to link technology
with its context.
Kittler was one of the first media theorists to deal with software in the
new media studies perspective.2
He considers the computer to be a descendent
of the typewriter and points to the symbolic and transformative power of
the universal Turing machine. In his view, while the typewriter transformed
handwriting into a chain of discrete letters of the alphabet, the computer
completed the transformation of the symbolic order by replacing letters with
a (secret) code of numbers (ciphers).3
He writes:
From the Remington via the Turing machine to microelectronics, from mechanization
and automatization to the implementation of a writing that is only
cipher, [...] one century was enough to transfer the age-old monopoly of writing
into the omnipotence of integrated circuits. [...] All data streams flow into a state
n of Turing’s universal machine; Romanticism notwithstanding, numbers, and
figures become the key to all creatures.4
According to Kittler, the code of programming languages has become the
dominant mode of representation in the computer age.5
As a  result, the
historical order, based on narratives, has been replaced by the programmable
media order, which involves/is based on the abstract, isolated, and,
in its isolation, omnipotent universe of mathematics. At the core of the
mathematic order is a seductive concept of general substitution.6
Thus, the
computer can be seen as an isolated universe of symbols within which it is
possible to completely represent the world or even to replace a human with
a simulation of one.
2
Friedrich A. KITTLER, “There Is No Software.” In: KROKER, A. – KROKER, M. (eds.),
C-theory net [online]. Available at: <http://www.ctheory.net/articles.aspx?id=74> [cit. 12. 8.
2013]. Originally published as Friedrich A. KITTLER, “Es gibt keine Software.” Draculas
Vermächtnis: Technische Schriften. Leipzig: Reclam 1993, p. 225–242.
3
Friedrich A. KITTLER, Gramophone, Film, Typewriter. Stanford: Stanford University Pressrr
1999. Originally published as Friedrich A. KITTLER, Grammophon, Film, Schreibmaschine.
Berlin: Brinkmann & Bose 1986.
Se
e also Friedrich A. KITTLER, “Code (or, How You Can Write Something Differently).” In:
FULLER, M. (ed.), Software Studies: A Lexicon. Cambridge: The MIT Press 2008, p. 40–47.
4
KITTLER, Gramophone, Film, Typewriter, pp. 18–19.
5
KITTLER, “Code,“ p. 40.
6
Wendy Hui Kyong CHUN, Programmed Visions: Software and Memory. Cambridge, MA:
MIT Press 2011.
272
Mathew Fuller adopted a  different perspective. His focus is the programming
and other practices that occur around and through computers. It
is his belief that in order to know more about the influence programmable
media have on our culture we must study not only the media itself, but also
the activities that occur through and around them. He writes:
Software marks another of its beginnings in Alan Turing’s desire to chart the
computable, [...] within the terms of mathematics. Computation establishes
a toy world in conformity with its axioms, but at the same time, when it becomes
software, it must, [...], come into combination with what lies outside code. [...]
And it is this paradox, the ability to mix the formalized with the more messy non-mathematical
formalisms, linguistic, and visual objects and codes, events
occurring at every scale from the ecological to the erotic and political - which
gives computation its powerful effects, and which folds back into software in its
existence as culture.7
Software as a toy
Within the effort to make software a part of culture, there is a complementary
ambition to discover new, appropriate, and often subversive methodologies
for software studies. Wendy Chun talks metaphorically about the in
media res8
perspective, referring to giving up the critical distance of general
statements in favour of close readings, microanalyses, and interpretation of
particular features and principles of computation.
This paper contributes to the software studies perspective, in which software
is seen as being part of wider cultural production and imagination and
is treated not as a tool but as a toy-concept that we can deal with playfully.t
The argument is placed within and beyond the formal scientific discourse,
as well as within conscious and unconscious parts of human mind activities.
The universal machine is treated both as a self-portrait (in the sense that it
represents activities of the human mind) and as a symbol of Alan Turing’s
personal and professional life tragedy. My hypothesis is that the universal
Turing machine can be seen as a kind of compiler, which is transcoding the
bachelor machine (the symbol of the vain urge for transcendence) into the
Turing machine (the symbol of the transformation).
7
Matthew FULLER (ed.), Software Studies: A  Lexicon. Cambridge, MA: MIT Press 2008,
p. 5–6 (1–13).
8
CHUN, Programmed Visions.
Jana Horákova
273
The universal Turing machine
Alan Turing’s universal (computing) machine (later renamed the Turing
machine) warrants special attention because it is the first theoretical explanation
of the stored program computer (software), which directly influenced
early thinking on the nature of computation and the modern electronic
computer’s architecture. Moreover, the supposition that Turing based the
concept of the universal machine is that any complex operation can be reduced
to a series of simple steps described as mathematical functions (add,
subtract, multiply, etc.) is what lies at the heart of all programming.
Turing presented the concept of the universal machine for the
first time in “On Computable Numbers, with an Application to the
Entscheidungsproblem”.9
He explained that the universal machine consists
of an infinitely long piece of paper comprising an infinite number of boxes
and through these a mathematical calculation, even a very complex one, can
be performed by following a series of actions based on the symbols in the
boxes. The hypothetical machine was described in the chapter Computing
Machines as follows:
The machine is supplied with a “tape” (the analogue of paper) running through
it, and divided into sections (called “squares”) each capable of bearing a “symbol”.
At any moment, there is just one square [...], which is “in the machine”. We
may call this square the “scanned square”. The symbol on the scanned square
may be called the “scanned symbol”. The “scanned symbol” is the only one of
which the machine is, so to speak, “directly aware”. However, [...] the machine
can effectively remember some of the symbols which it has “seen” (scanned)
previously.10
As the quotation itself implies, rhetorical figures based on analogies between
the human mind and computing machines are applied next to exact mathematical
formulations on the paper. One more example for all:
For the present I shall only say that the justification lies in the fact that human
memory is necessarily limited. We may compare a man in the process of com-
9
Alan M. TURING, “On Computable Numbers with an Application to the Entscheidungsproblem.”
In: Proceedings of the London Mathematical Society, vol. 42, 1936, no.  2,
p.  230–265. Available online at: <http://www.cs.virginia.edu/~robins/Turing_Paper_1936.
pdf > [cit. 14. 8. 2013].
10
TURING, “On Computable Numbers,” p. 231.
The Turing Machine on the Dissecting Table
274
puting a real numbers to a machine, which is only capable of a finite number of
conditions.11
However, the association of the universal Turing machine with man is made
not only on the level of metaphor. Explaining the machine’s operations
Turing refers to the similarities and analogies between a human’s and a computational
machine’s invisible functional characteristics. To enable a comparison
and link the concept of a human to the concept of a computer, the
model and definition of man must be reduced to an “information processing
system”.12
Hayles regards this reduction within Turing’s argument as a significant
contribution to the discourses of cybernetics and posthumanism.
The mechanical aesthetics of Marcel Duchamp’s seminal work The Bride
Stripped by Her Bachelors, Even (The Large Glass) enables us to compare
it with the universal Turing machine. This way we can develop thinking
in analogies between the computing machine and the exercises of the human
mind to describe their similarities in such features that lie outside the
“retinal world”. Moreover, both (conceptual) apparatuses refer to the notion
of the “bachelor machine” that makes it possible to articulate the dominant
image-myth of the mechanical age that has spread through the collective
unconscious.13
The bachelor machine
Marcel Duchamp coined the term bachelor machine (or machine célibataire)
around 1913, when he named the lower glass plate of his seminal
work The Bride Stripped by Her Bachelors, Even (1915–1923) or in short
The Large Glass. The bachelor machine referred to the realm of mechanical
components, a water paddle, scissors, a chocolate grinder, a sledge, and nine
balloon-like pods called the Malic Molds. These Malic Molds represent nine
bachelors condemned to eternal longing for the Bride that remains remote
in the upper glass plate realm.
11
Ibid., p. 231.
12
Katherine N. HAYLES, How We Became Posthuman: Virtual Bodies in Cybernetics,
Literature, and Informatics. Chicago – London: University of Chicago Press 1999.
13
Dieter Daniels was probably the first new media theorist to see certain resemblances
between the functional features of Turing’s computing machine and The Large Glass by Marcel
Duchamp, and elaborated this observation by using the term the bachelor machine. Dieter
DANIELS, “Duchamp: Interface: Turing: A Hypothetical Encounter between the Bachelor
Machine and the Universal Machine.” In: GRAU, O. (ed.), Media Art Histories. Cambridge,
MA: MIT Press 2007, p. 103–136.
Jana Horákova
275
However, later on the bachelor machine acquired the status of a broader
concept in the art theory. Michel Carrouges appropriated the term to point
out the structural similarities between Marcel Duchamp’s The Large Glass
and different apparatuses described by writers in the second half of the nineteenth
and the early twentieth century.14
For example, a punitive apparatus
described by Franz Kafka in the short story In the Penal Colony (1919), ory
apparatuses designated in novels Impressions d’Afrique (1915) by Raymond
Roussel, or Le Surmâle (1915) by Alfred Jarry, and many others.
By deciding to articulate the shared structure of these apparatuses with
the term bachelor machine Carrouges pays homage to The Large Glass,
which is the only visual, and not literary, depiction of a bachelor machine
within Carrouges’s theory. According to him, all bachelor machines share
“the sexual origin of The Large Glass mechanics and their signification
of death”. They assume the form of a blueprint or a diagram made of mechanical
and visceral structures, referring both to mechanisms that are
“unfinished, unfinishable, and incapable of operating in reality” and to
the “mental machines, the imaginary working of which suffices to produce
a real movement of the mind”. Thus, bachelor machines are usually reminiscent
of scientific images or technical drawings, which mediate knowledge
about un-presentable and unconscious phenomena and forces. Carrouges
interpreted the bachelor machine as a concept that emerges from and refers
to the collective imagination and that thus acquires the status of the myth of
the man of the mechanical age.
The bachelor machine’s anatomy
All bachelor machines share certain structural features. They operate as
closed circuits between an upper and a lower part, within which the message
from the upper zone is inscribed upon the lower one. Each bachelor
machine consists of two overlapping mechanisms, the desiring machine
and the suffering machine. It is a kind of diagram made of two overlapping
layers, which represents the forces of the vain desire for transgression, both
towards love and death, which characterize modern man.
The desiring machine: The Large Glass’s apparatus represents the layer
of the desiring machine. It consists of two distinct realms, the realm of the
bride above and the realm of the bachelors below. There is a vertical boundary
between them, which makes impossible their immediate contact. The
14
Michel CARROUGES, Les Machines célibataires. Paris: Arcanes 1954.
The Turing Machine on the Dissecting Table
276
bachelors in the lower part are imagining and desiring the bride without any
possibility of comprehension because the mechanism of communication is
frozen into death in the glass.
The suffering machine: A torture apparatus similar in structure to The
Large Glass is found in Franz Kafka’s In the Penal Colony and represents they
layer of the suffering machine. The apparatus consists of a lower part, the
bed, and the upper part, the designer. Between them, there is a section called
a harrow, which is a piece of glass in which needles are fixed and that can
be moved up and down. The condemned man has to lie on the bed and his
offence is written into his back with the harrow. The man is not told of his
offence. He must learn it through his body, sentenced to death.
The universal machine: The universal machine shares its functional features
with other bachelor machines. It consists of two horizontally separate
realms, the upper part called the head and the lower part made of the tape.
The head scans, writes, and reads the tape according to its current state. The
writing device, in the shape of a needle, writes and erases signs according to
its program, while the tape moves back and forth, mediating communication
between the upper and lower part.
The bachelor machine in the new media discourse
Dieter Daniels made a comparison of Marcel Duchamp’s The Large Glass
and Turing’s universal machine in an attempt to prove that the bachelor machine,
which emerged in the world of art, can offer new, illuminating insight
into the understanding of computer-mediated communication which has
become the dominant means of communication and self-representation in
the computer age. He suggested naming the current information and communication
technologies “the universal bachelor machine”. This neologism
embodies his opinion that the most significant articulations of the bachelor
machine are no longer found in the world of art but in the realm of new
media, which are more and more defining and restricting the ways in which
we communicate with other people and experience the world we live in. He
wrote, “[the] bachelor machine, having started out as an artistic vision, has
turned into a way of embracing and developing technologies”.15
15
Dieter DANIELS, “Duchamp: Interface: Turing: A Hypothetical Encounter between the
Bachelor Machine and the Universal Machine.” In: GRAU, O. (ed.), Media Art Histories.
Cambridge, MA: MIT Press 2007, p. 130 (103–136).
Jana Horákova
277
Daniels made the most refined contribution to rethinking the bachelor
machine concept in new media theory. However, other remarkable examples
of applications of the bachelor machine concept or of analogies between
computers and The Large Glass can be found in the new media discourse.
Jean Baudrillard wrote that the bachelor machine represents the artificial intelligence
of computers because they are unable feeling pleasure. He insisted
that this is the last difference between man and machine. “What will always
distinguish the functioning of even the most intelligent machine from man
is the ecstasy, the pleasure of functioning [...].”16
Sherry Turkle, focusing
on the computer user, wrote that the geeks, nerds, and hackers who spend
nights with computers live in so-called “bachelor mode”.17
Roy Ascott used
an analogy between The Large Glass and the computer monitor to provide an
insightful description of the interface. He wrote that:
We see in the work known as [...] The Large Glass a field of vitreous reality in
which energy and emotions are generated from tension and interaction of male
and female, natural and artificial, human and machine. [...] Its subject is attraction
[...]. As “ground”, The Large Glass has function and status anticipating that
of the computer monitor as a screen of operations – of transformations and as
the site of interaction and negotiation for meaning.18
The universal machine as a self-portrait
The following argument deals with similarities between functional features
of the universal machine and the bachelor machine as well. These two concepts
are treated as portrayals of the hidden (unconscious) processes that go
on beneath the computer desktop in the case of the universal machine, and
the unconscious forces inside the mind of a man in the case of the bachelor
machine.
The universal machine is seen not as a counterpart of the bachelor machine
in the techno-science discourse,19
but as one of many articulations of
16
Jean BAUDRILLARD, “Videowelt und fraktales Subjekt.” In: Ars Electronica (ed.),
Philosophie der neuen Technologien. Berlin: Merve 1989, p. 130 (113–133).
17
Sherry TURKLE, The Second Self: Computers and the Human Spirit. New York: Simon and
Schuster 1984, p. 198.
18
Roy ASCOTT, “Is There Love in Telematic Embrace?” In: SHANKEN, E. (ed.). Roy Ascott.
Telematic Embrace. Visionary Theories of Art, Technology, and Consciousness. Berkeley – Los
Angeles – London: University of California Press 2003, p. 235 (232–246).
19
Cf. DANIELS, “Duchamp: Interface: Turing”.ff
The Turing Machine on the Dissecting Table
278
the bachelor machine. Thus, their relationship is not based on a dichotomy
and should rather be ideated as a kind of palimpsest, as a drawing on which
one can see at first glance the universal machine description, but upon
second glance will see the diagram of the bachelor machine emerge from
within its background.
The link between subject of Alan Turing and the concept of the universal
machine is constituted by playing with significant slips of the tongue within
scientific writings rhetoric. The genre of the universal machine image that is
going to be drawn is close to the self-portrait.
The human computer
We can ask what kind of man served Turing as the inspiration for the computing
machine. Turing described the man he had in mind in chapter 4,
Digital computers:
The idea behind digital computers may be explained by saying that these machines
are intended to carry out any operations which could be done by a human
computer. The human computer is supposed to be following fixed rules;
he has no authority to deviate from them in any detail. We may suppose that
these rules are supplied in a book, which is altered whenever he is put on to
a new job.20
Thus, the universal machine resembles a human computer, someone who is
counting all the time. It could be a bookkeeper, an accountant, or a bureaucrat,
simply someone who is “squirreling around in the back office, shuffling
through stacks of rigged paper, reading, writing, and erasing numbers in
little boxes”.21
The freak of numbers
However, Turing points to the much better performance and accuracy of the
counting done by the universal machine than the man-computer. Thus, we
can say that the model is not merely a conscientious bureaucrat, but rather
someone who has an extraordinary memory, who is very accurate and persis-
20
Alan TURING, “Computing Machinery and Intelligence.” Mind, vol. 59, 1950, no. 236
(433–460). Available online at: <http://loebner.net/Prizef/TuringArticle.html> [cit. 12.  8.
2013].
21
Warren SACK, “Memory.” In: FULLER, M. (ed.) Software studies, p. 188 (184–193).
Jana Horákova
279
tent in his counting, and who is able to solve very complicated mathematical
and logical problems. Hence, Mathew Fuller calls precursors of computers
“freaks of number”22
and he refers to computers as the descendants of these
eccentric freaks or prodigies, whose talent reveals itself in the form of monomaniacal,
enormously fast, and extremely accurate counting.23
The mathematician
We can speculate that it is almost impossible that Turing would be able
to avoid any self-reflection while describing the human mind in a state of
computing. Therefore, another possibility is to search for analogies between
the computational abilities of the universal machine and the excellent performances
of the mind of its inventor, Alan Turing himself.
Turing’s biographer, Andrew Hodges, suggested certain relations
between the universal machine concept, in particular the first of its two
axioms, its isolation (the second one is its completeness), and the person
Alan Turing. He wrote:
[T]he discrete state machine, communicating by teleprinter alone, was like
an ideal for his own life, in which he would like to be left alone in a room of
his own, to deal with the outside world solely by rational argument. It was the
embodiment of J. S. Mill liberal subject, concentrating upon the free will and
free speech of the individual.24
The demand for the isolation of the universal machine from the outer world
can be interpreted as a decision that belongs in the realm of the cold logic
22
Matthew FULLER, “Freaks of Number.” In: COX, G. – KRYSA, J. (eds.), Engineering
Culture: “On The Author as (Digital) Producer”. New York: Autonomedia (DATA browser 02)
2005, pp.  161–175. Available on-line: <http://www.spc.org/fuller/texts/freaks-of-number/>
[cit. 12. 8. 2013].
23
Fuller noted the strange but significant structure of the book Le Calcul simplifié par les
procédés mécanique et graphique, subtitled A  History and Description of Instruments and
Machines of Calculation, Tables, Abacuses and Nomograms by Maurice d’Ocagne published
in 1894. D’Ocagne included a  list of individuals with exceptional counting skills into the
Introduction of a book dedicated to taxonomy of counting tools and machines. Fuller regarded
the arrangement as the inaugural moment of the computer age. He wrote: “What is interesting
though is that this list of numerical freaks appears at the beginning of a sober text on the
means of automating mathematical operations. It is as if it were something that has to be
acknowledged, marveled at, but disowned. The chemist describes the alchemists. This shudder
of recognition and of admiration passes. The thing is safely out of their clammy hands, but
the continuum between these persons and these machines is established.” Ibid., pp. 163–164.
24
Andrew HODGES, Alan Turing: The Enigma of Intelligence. London: Unwin 1985, p. 425.
The Turing Machine on the Dissecting Table
280
of mathematics. However, Hodges’s psychological explanation of this demand
suggests that the rational purity of mathematical models may be just
an illusion. Instead, they should be recognized as being entwined within
human desires, fears, and hopes, as well as the human will to control and
manipulate the world.
From model to index
Taking the universal machine as a model for the human computer, a prodigy,
or a mathematician, means effacing its status as a blueprint for computational
machines in favour of treating it as a model for a human. Based on
the argument establishing a link between the universal machine and (the
person of) Alan Turing, we can refer to the universal machine as a kind of
self-portrait. However, we should ask, what is the nature of the relationship
between Turing and the universal machine?
It is common to treat the relationship between the model and the
original as representation or substitution on the basis of shared features.
However, dealing with signs in this way can lead to certain misunderstands
and even mistakes. Turing discussed the risk of thinking in terms of analogies
between an original and a model in his paper “The Chemical Basis of
Morphogenesis”25
. He wrote:
[... the] mathematical model [...] will be described. This model will be a simplification
and idealization, and consequently a falsification. It is to be held that the
features retained for discussion are these of the great importance in the present
state of the knowledge.26
Turing’s words about the weak status of a model express a certain scepticism
towards a mathematical model’s ability to provide a rich enough representation
of the original.
To avoid thinking in analogies between a  model and an original, in
this case between the universal machine and the person Alan Turing, we
shall instead employ the speak in terms of indexical references. While in the
first part of the paper the concept of the bachelor machine was introduced
as a suitable analogy for the universal machine by listing their structural
25
Alan TURING, “The Chemical Basis of Morphogenesis.” In: Philosophical Transactions of
the Royal Society of London. Series Biological Science, vol. 237, 1952, no. 641, p. 37–72. Available
online at: <http://www.jstor.org./stable/92463> [cit. 12. 8. 2013].
26
Ibid., p. 38.
Jana Horákova
281
similarities. In the argument below the bachelor machine will represent an
indexical relationship between the author, Turing, and the universal machine.
This will enable us to interpret the relationship between the person
Alan Turing and the universal machine within the structure of the two
overlapping diagrams that the bachelor machine comprises. This kind of
relationship can help us to avoid the reductionism of a scientific model and
be more sensitive to the context or the background of the universal machine.
With this approach we can show that the universal Turing machine is both
the result of a brilliant exercise in mathematical logic and an index of the
person Alan Turing, the conscious and unconscious parts of his desires and
will. We could say that below the universal machine will be subjected to
a kind of x-ray examination to expose the hidden layers of unconscious and
(deleted) embodied experience.
The universal Turing machine on the dissecting table
Dissecting table
Carrouges described the bachelor machine as a “fantastic image that transforms
love into the technique of death” that is first of all an “improbable
machine”, and said that “the determinant structure of these unlikely looking
machines is based on mathematics”.27
In the effort to explain the basic principles
shared by all bachelor machines, he pointed to its simpler precursor,
Lautréamont’s formula from Le Chants de Maldoror (1869, Chant VI):r
He is beautiful [...] like the chance meeting of a sewing machine and an umbrella
on the dissecting table.28
Carrouges turns the interpreter’s attention away from the heterogeneous
setting created by the umbrella as a male symbol and the sewing machine
as a female symbol to a third object in the background of the image, the
dissecting table. The dissecting table does not figure among the bachelor
machine’s mechanical and sexual components. However, its importance for
understanding the bachelor machine is crucial.
27
Michel CARROUGES, “Istruzione per L’uso / Instructions for Use.” In: CLAIR, J. –
SZEEMANN, H. (eds.). Le macchine celibi / The Bachelor Machines. Catalogue La Biennale di
Venezia. Venice: Alfieri Edizioni d’Arte 1975, p. 21 (21–49).
28
Ibid. p. 22.
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[The dissecting table] represents a specific function arising out of the system
of the two ensembles. Instead of love bed, signifying union and love, the
dissecting-table expresses the bachelor machine’s specific function, which is
solitude and death.29
The principal importance of the background, which unites the bachelor
machine’s components into one system, is confirmed in Marcel Duchamp’s
response to the letter sent to him by Carrouges, in which he explained the
concept of the bachelor machine on the basis of the correspondence between
The Large Glass and Franz Kafka’s short novels Metamorphosis and In the Penal
Colony. Even though Duchamp expressed doubts about using a method
based on searching for structural analogies between the upper and the lower
part of The Large Glass and, for example, between the sewing machine and
the umbrella in Les Chantes de Maldoror, he appreciated the analogy be-rr
tween the transparent glass plates and the dissecting table. He wrote:
6 Feb. 1950
My dear Carrouges,
[...]
I can tell you that the introduction of the ground theme explaining or provoking
certain ‘acts’ of the Mariée and the bachelors, never came into my mind
– but it is likely that my ancestors made me “speak” like them [...].
Celibately yours,
Marcel Duchamp30
The Turing test
Analogically to the transparent glass plates of The Large Glass, the crucial
role of the background in the universal Turing machine setting is played
by the imitation game of the Turing test. Turing explains the rules of the
game as follows:
The new form of the problem can be described in terms of a game which we
call the “imitation game.” It is played with three people, a man (A), a woman
(B), and an interrogator (C) who may be of either sex. The interrogator stays in
29
Ibid.
30
Jean CLAIR – Harald SZEEMANN, Le macchine celibi / The Bachelor Machines, catalogue
La Biennale di Venezia. Venice: Alfieri Edizioni d’Arte 1975, p. 49. Available online at: <http://
www.scribd.com/doc/46775310/The-Bachelor-Machines> [cit. 12. 8. 2013].
Jana Horákova
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a room apart from the other two. The object of the game for the interrogator is
to determine which of the other two is the man and which is the woman.31
In the second round of the game, one player is replaced by a machine. Turing
asks:
[...] “What will happen when a machine takes the part of A in this game?” Will
the interrogator decide wrongly as often when the game is played like this as he
does when the game is played between a man and a woman? These questions
replace our original, “Can machines think?”.32
However, it is not the rules for the players’ actions that plays the crucial
role in the experiment but rather the arrangement of Turing test’s based on
remote, mediated communication. Turing described this as follows:
[...] the answers should be written, or better still, typewritten. The ideal arrangement
is to have a  teleprinter communicating between the two rooms.
Alternatively the questions and answers can be repeated by an intermediary.
[...] The new problem has the advantage of drawing a fairly sharp line between
the physical and the intellectual capacities of a man.33
The magic trick
Katherine N. Hayles has noted the importance of the setting in which Turing’s
imitation game takes place. She writes:
Like all good magic tricks, the test relies on getting you to accept at an early
stage assumptions that will determine how you interpret what you see later. The
important intervention comes not when you try to determine which is a man,
the woman, or the machine. Rather, the important intervention comes much
earlier, when the test puts you into a cybernetic system in which represented
bodies are joined with enacted bodies through mutating and flexible machine
interfaces.34
The Turing test was intended to serve as a means of eliminating the body
from the definition of man. Thus it was possible to reduce man to an in-
31
TURING, “Computing Machinery and Intelligence,” p. 433.
32
Ibid., p. 433.
33
Ibid., p. 433.
34
HAYLES, How We Became Posthuman, p. xiii.
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formation processing system and intelligence to the “ability to manipulate
formal symbols rather than enaction in the human life-world”.35
While in
the first round, the game deals with the performativity of gender, in the
second one, it deals with the performativity of intelligence. This way, Turing
was able to make his audience/readers accept the comparison and the hypothetical
intersubstitutability of a human’s and a computational machine’s
intelligences. Hayles wrote that: “[I]n the push to achieve machines that can
think, researchers performed again and again the erasure of embodiment at
the heart of the Turing test.”36
It is significant that Hayles highlighted the ritual and performative
quality of the Turing test in the introductory chapter of her book How We
Became Posthuman.37
She saw in the imitation game “the inaugural moment
of the computer age”, for it erased the embodied experience from the model
of human and established a close circuit of references between human and
machine within a mediated environment. According to Hayles, the Turing
test proved that:
[T]the overlay between the enacted and the represented bodies is no longer
a natural inevitably but a contingent production, mediated by technology that
has become so entwined with the production of identity that it can no longer
meaningfully be separated from the human subject.38
The Turing test’s setting of mediated communication, as well as the
transparent glass plates of The Large Glass, or the dissecting table in Les
Chants de Maldoror are just different examples of the background whichr
unites the mechanical and sexual components of bachelor machines to trigger
their meaning production. It is as though the imitation game of the Turing
test were taking place on the “dissecting table”, where a man is divided
into a body and a mind to be transposed onto the level of their symbolic
representations. The magic trick of the Turing test allows a human or a machine
to be judged by the interrogator on the basis of the communication
established through symbolic exchange and on intellectual arguments only.
However, Turing learned first-hand during his judicial proceeding that
neither a typewriter nor a computer interface could protect him if he breaks
35
Ibid., p. xi.
36
Ibid., p. xi.
37
Ibid.
38
Ibid., p. xiii.
Jana Horákova
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the laws of the society he lives in. The sentence for his “crime” was inscribed
deep in his body by his hormonal treatment.
Alan, the Bachelor machine
Alan Mathison Turing was born on 23 June 1912 in London in the district of
Paddington, and he died on 7 June 1954 in Winslow in Cheshire. He was an
outstanding mathematician, logician, cryptanalyst, and computer scientist.
His homosexuality resulted in a criminal prosecution against him in 1952,
when homosexual acts were still illegal in the United Kingdom.39
He was
arrested, convicted of homosexuality, and put on trial for “acts of gross indecency”
between adult men. To avoid imprisonment, Turing agreed to submit
to a one-year course of oestrogen therapy. In other words, he underwent
a chemical castration. The treatment caused gynecomastia as a side effect.
However, the sentence he was subjected to also had other side effects. He was
excluded from all government research projects owing to a loss of confidence
in him and his unclean criminal record. Two years later, in 1954, he committed
suicide by eating an apple laced with cyanide.40
Coming out of “the toy world”
The Turing test’s magic power, which lies in its ability to change someone’s
identity (a man into a woman or a man into a machine) within the setting
of the imitation game, was re-enacted by Duchamp and Turing themselves
later when their work on their bachelor machines was done. In this sense, it
was as though The Large Glass and the universal Turing machine were just
blueprints or sketches for further embodiments of the invisible forces whose
traces maps the bachelor machine diagram.
Subsequently, Marcel Duchamp playfully dealt with performativity of
a gender identity on his famous transvestite photographs made by Man Ray,
which show his alter ego Rrose Sélavy. Alan Turing wrote later on “On the
Chemical Basis of Morphogenesis”41
”” , his prophetic contribution to the math-
39
The law was not repealed until 1967.
40
Turing’s biographers, Hodges and Leavitt, suggested that Turin’s death was the re-enactment
of a scene from his favourite film Snow White (Walt Disney, 1937). Andrew HODGES, Alan
Turing: The Enigma of Intelligence. London: Unwin 1985; David, LEAVITT, The Man Who
Knew Too Much: Alan Turing and the Invention of the Computer. New York – London: W. W.rr
Norton & Co. 2006.
41
TURING, “On The Chemical Basis of Morphogenesis.”
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ematical biology. He wrote the paper at the same year when he underwent
his judicial proceeding, which ended with condemnation to the hormonal
treatment of his homosexuality.
Both, Duchamp and Turing, had undergone similar development in
their interests from mechanic arrangements to organic matters. While Duchamp
had focused on the optical effects, which can unsettle our faith into
empirical experience, thus he remained on the surface of things. Turing’s
affair with the organic matter was much more deep-seated, for he not only
contributed to the mathematical biology, but he underwent the substantial
body transformation during the hormonal therapy, and he committed suicide
just two years later.
Within these regrettable events, he underwent transformation from the
male to female body, and from the life to the death. Turing made coming
out of the toy world of representation (the metaphor fits the world of both
art and mathematics) and entered into the embodied, physical experience of
becoming someone else.
It can be said that Turing performed the perfect magic trick of the Turing
test for it was not a trick or an illusion.42
Unlike Duchamp, his transformation
occurred, literally, within his own body. Thus, he should be recognized
as not only the father of modern computing but also the first post-human,
the “new mutant”,43
in the radical sense of the word.
Epilogue
Turing’s mathematical hypotheses concerning the universal machine and
the Turing test failed in practice. The personal tragedy of Alan Turing proved
that the universal machine’s axioms, its isolation and completeness, can
work within the clean laboratory of theory only, but cannot be accomplished
once the universal machine acquires material form, for example, the form
of a personal computer, and becomes part of culture. However, we can say
that Turing won the hypothetical competition between him and the other
magician, Duchamp, in terms of the magic of transformation. Moreover,
he became aware of the illusion of his conviction that scientific discourse
evolves within the logic of scientific discourse. He feared that the sentence
he had to face in his private life would affect the way his professional work is
42
See the film The Prestige (2006).
43
Leslie FIEDLER, “The New Mutants.” In: Collected Essays of Leslie Fiedler. 2nd vol. Newrr
York: Stein and Day 1965, pp. 392–400. Available online at: <.http://www.texaschapbookpress.
com/newmutants01.htm > [cit. 12. 8. 2013].
Jana Horákova
287
treated by scientific society. He expressed his apprehensions in a syllogism at
the close of a letter to his friend Norman Routledge.
Turing believes machines think
Turing lies with men
Therefore machines cannot think.
Yours in distress,
Alan44
Turing’s contributions to computer science and his influence on disciplines
like artificial intelligence and advanced robotics are enormous. However,
his personal tragedy was not discussed in public for a long time. Not
until 10 September 2009, when, following an internet campaign for Turing,
British Prime Minister Gordon Brown made an official public apology on
behalf of the British government for “the appalling way he was treated”.
Meanwhile, Turing’s chemically crippled body has worked like an archetype,
in the deep layers of the discourse of computer culture, sublimated
in Turing’s writings, and interpreted as a logical slip.45
Turing, the man, the
numbers freak, the excellent (human) computer, was for a long time erased
from the history of computing, and substituted by the universal machine,
referred to in short, but significantly, as the Turing machine.
To add the universal machine to the list of bachelor machines is a gesture
of transposition from the realm of mathematics to the realm of culture, from
the realm of pure logic to the realm of self-expression. By treat the universal
machine as the bachelor machine the unconscious, the sublimated ”personal
obsessions”46
”” that cannot be excluded from the realm of science are made
44
LEAVITT, The Man Who Knew Too Much, p. 5.
45
Hodges interprets Turing’s inclusion of gender in the imitation game of the Turing test as
a “red herring”. He wrote that the passage of the argument “was not expressed with perfect
lucidity. The whole point of this game was that a successful imitation of a woman’s responses
by a man would not prove anything. Gender depended on facts which were not reducible to
sequences of symbols.” HODGES, The Enigma of Intelligence, p. 415.
46
Curator Harald Szeemann revisited and expanded Carrouges’ argument in 1975, when he
organized exhibition inspired by Duchamp’s The Large Glass entitled The Bachelor Machines.
The exhibition belongs to the series of his exhibitions on personal obsessions. His attempt
was to visualize the myth, thus he displayed fabricated full-scale models of different bachelor
machines, including the torture and execution device, which Kafka described in In the Penal
Colony at the exhibition. Szeemann interpreted the bachelor machine in a later interview:y
“It had to do with a belief in eternal energy flow as a way to avoid death, as an erotic of life:
the bachelor as rebel-model, as antiprocreation.” Hans OBRIST, A Brief History of Curating.gg
Ostrava: Ringier Print 2008, p. 92–93.
The Turing Machine on the Dissecting Table
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visible. Paradoxically, from this point of view, the universal machine loses
its uniqueness as the foundation of individual genius, and it becomes part of
the many articulations of the bachelor machine myth. This way the universal
machine becomes part of general cultural production and its significance
penetrate far and deep into our culture.
Jana Horákova