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:: searchSonata 181
searchSonata 181 performance
by Christiane Maschajechi,
searchSonata 181 performance by Regina Spindler, 19.01.2011
searchSonata 181 rehearsal by Regina Spindler ( 11/2010)
searchSonata 181 is the last part of the search trilogy on performing algorithmically generated texts. Via an anthropomorphic interface for the output according to Max Bense's categorization searchSonata 181 turns artificial poetry into natural poetry.
The consistency of this trilogy is the usage of words that are typed in real time into searchengines like Google & Co. These search terms are then converted i.e. processed by algorithm. In the first piece of work, searchLutz (2006), the search terms are processed into texts, in the second piece, searchSongs (2008), into sounds and melody, and now, in the third and latest piece, searchSonata 181, into phonetics as an acoustic bridge between text and sound. Inputs into searchengines are words of yearning for human beings in the internet. By them they try to reach the desired. For a computer, structurally those inputs into searchengines correspond to passwords. So to speak passwords are the machine's words of yearning; the machine needs them to ask for access.
Computer programmes according to the FIPS 181 standard (Federal Information Processing Standard) are phonetic and soundpoetic text generators without inherent intention of producing art. FIPS 181 describes how to produce algorithmically secure but yet pronouncable passwords (I am grateful to Linus Suter for this reference).
With its algorithm of FIPS 181 (Appendix A) searchSonata 181 encrypts human words of search and yearning as ready-made into sound poetry. "Consistent poetry" according to Kurt Schwitters "is built up of letters. Letters have no sonic concept. Letters in itself don't have a sound, they only offer possibilities that can be tonally evaluated by the speaker."
The performance of searchSonata 181 plays the generated texts back into real space: the message has to pass through the algorithm without getting caught there.
Stuttgart, autumn 2010