When Bo Göranzon felt dissatisfied with his attempt to represent theories of knowledge in The Practical Intellect, he turned to the dialogue form in order to explore further the Turing-Wittgenstein confrontation. Dialogue is an inherently dramatic and dynamic form; it allows competing claims to be tested against each other, it invites participation in the play of unfolding meaning, and is the medium most suited to expressing ideas in motion. It is significant therefore that Beyond All Certainty should have initially not one, but two authors, each contributing different perspectives and priorities to the biographical, theoretical and theatrical material. For Anders Karlqvist, co-author of Beyond All Certainty, the play provided an opportunity to explore not only the two theories of knowledge represented by Turing and Wittgenstein, but also the relation of music in determining the ‘algorithms of sayability’. As Hugh Whitemore’s play, Breaking the Code,2 stimulated Göranzon to adopt a dramatic mode of representation, so, for Karlqvist, music functioned both as a commentary on, and structuring principle for, the play. The genesis of Beyond All Certainty therefore occurred as part of a dialogue with existing texts, forms, dialogues.
KeywordsFatigue Sedimentation Mountain Side Metaphor Barb
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- 4.A dramatized reading of the script had been given at the Royal Dramatic Theatre on 16 February 1992.Google Scholar
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