Abstract

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.

Keywords

Fatigue Sedimentation Mountain Side Metaphor Barb 

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Notes

  1. 1.
    “The Personal Signature”, Chapter 27, Artificial Intelligence, Culture and Language: On Education and Work [Springer-Verlag, 1990 ], p. 249.Google Scholar
  2. 2.
    Whitemore was himself motivated to write Breaking the Code by reading Stephen Toulmin’s review of Andrew Hodges’ biography of Turing in The New York Review of Books (November 1983)Google Scholar
  3. 3.
    “Socratic Dialogue: On Dialogue and Discussion in the Formation of Knowledge”, Chapter 25, Artificial Intelligence, Culture and Language: On Education and Work [Springer-Verlag, 1990 ], p. 230Google Scholar
  4. 4.
    A dramatized reading of the script had been given at the Royal Dramatic Theatre on 16 February 1992.Google Scholar
  5. 5.
    The Paradox of the Actor, trans. Geoffrey Bremner [Penguin Books, London, 1994], p. 130Google Scholar
  6. 6.
    op. cit. p. 124Google Scholar
  7. 7.
    “The great actor observes the phenomena around him; the man of sensibility is his model, which he reflects upon, and, thanks to this reflection, decides what is best to add or take away.” The Paradox of the Actor, p. 125Google Scholar
  8. 8.
    Denis Diderot, Rameau’s Nephew, translated by Leonard Tancock, [Penguin Books, London, 1986], p. 104Google Scholar

Copyright information

© Springer-Verlag London Limited 1995

Authors and Affiliations

  • Rolf Hughes

There are no affiliations available

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