Norbert Wiener's interest in the human-machine interface
and the physical problems of "piloting" the machine led me to ponder the
one bit decision at great length. In these works the choice
and arrangement of materials attempts to present the fusion of a
physical "on/off" circuit with serious aesthetic play. The
binary event of "on/off ", often represented as "1/0", much like our
"yes/no", or "accept/reject" is parallel, as an event, to the human
decision. When we are "indecisive" we cannot throw the "yes/no" switch
and at times, after we have thrown the switch, we wish we had not done
so.
These
"hard-wired" works, involved with logical gates
(Boolean switching), relate directly to my interest in
the gating logic of general computers and the nature of
information. As with Norbert Wiener, these interests lead
us directly to the human use of machines.
This suite of works, as
"homage", provides a playful cybernetic
exercise which touches the very heart of the "human
- machine" dialectic. Each work consists of an
electronic circuit that elects only one of two possible
paths at the split moment when the user presses the machine's decision
button.
The circuit "decision" cannot be predetermined
by the user so each machine is, in itself, an excellent
randomizer.
The earliest Decision Machine (1982, Yes-No)
displays two lamps labeled "Yes" and "No" respectively. When the user
presses the "button" only one lamp symbolizing "Yes" or
"No" remains illuminated. Similar to the "flip of a
coin" this machine can handle any "Yes/No"
decision. This version and the 1983 "green
(yes)" and "red (no)" version are
"generic" deciders for ordinary daily decisions
such as whether to listen to this or that music album.
"Reasoning" works wonders for us when we have sufficient
information and the time to make an "intelligent" decision. But what of
those moments when reason fails and we can't make up our mind, one way
or the other? The Decision Machine Suite includes
specialized machines symbolizing several of the most
difficult decisions we humans have to make, decisions we
must make at times with the burden of uncertainty. These
include:
At times, when rational argument fails,
we resort to a "flip of the coin". These
machines provide an electronic "flip of the coin" for that
decision moment when one is unable to arrive at a
decision following reasoned consideration based on
available information.
Norbert Wiener recognized the "fundamental
element of chance in the texture of the universe itself".
Computers simulate this "element of chance"
through the use of pseudo-randomizers which are
algorithms (mathematical formulas). Computer simulations
generated with pseudo-randomizers are repeatable whereas
the sequence of coin flips is not.
The next outcome in a random event, such as in the toss of a coin,
can never be predicted. It cannot be computed; we can only compute the
probability of such an outcome. Such random events from the
microscopic to the macroscopic permeate the texture of
our universe. And often, in our own life, we are forced
to make decisions for which we could not give
"reasoned" explanations. And what about all those
circumstances of life that force you to make a decision, "yes/no", and
you don't have enough information figure out which route would serve
you best?
The "Decision Machines" provide an electronic trigger
that yields a random "one bit" event symbolizing "yes" or
"no". This is
appropriate in homage to Wiener who observed that
"The functional part of physics cannot escape
considering uncertainty and the contingency of
events." (See The Human Use of Human Beings:
Cybernetics and Society, NY, 1967 Edition, p.15)
Cybernetics is the study of the guidance
and control systems we design for our machines. The
successful use of machines is correlative to the ease and
degree of "human" control. Even with our most
sophisticated guidance and control systems our machines
intermittently fail - they crash, self destruct or even
turn on us. So we have reason to fear the machine
"out of control".
But here we have a whole suite of
machines "out of control". We enter
one bit of information which alters the flow of current
in such a way that we can never know (or control) which
path it will elect. Is this phenomenon fearsome?
This leads us to the ultimate decider but
its use is recommended only for the theater. This is the
highest rank Decision Machine, To
Be or Not To Be?. It could have served Hamlet in facing his
dilemna:
To be or not to be: that is the
question.
Whether 'tis nobler in the mind to suffer
The slings and arrows of outrageous fortune,
Or to take arms against a sea of troubles,
And by opposing end them? . . .
DOCUMENTATION
Technical materials:
The circuit, for each work, is crafted
with diodes, transistors, capacitors, neon lamps, copper
wire, solder, and one 'single pole' input switch. Power
supply is household current.
 |
| Detail of wiring on
"The White House, yeah or nay". The wood,
salvaged from the 1940's Whitehouse renovation, still has its
original gray paint. Small holes, drilled in the wood served as
conduits for the circuit wiring. |
Detail of wiring on
"The White House, yeah or nay". The wood,
salvaged from the 1940's Whitehouse renovation, still has its
original gray paint. Small holes, drilled in the wood served as
conduits for the circuit wiring.
The circuit is mounted symbolically within the context of
a structure designed to evoke meanings
associated with each specialized machine. Materials used
include: wood, metal, plastic, paint, and glue. "The
Vatican" has gold leafed lamp reflectors. "The
Whitehouse" includes black and white balloting
marbles and a piece of wood salvaged from the 1940's Whitehouse renovation.
