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1. Searchsonata 181

   Die SearchSonata 181 ist der letzte Teil der SEARCH TRILOGIE (search lutz!, 2006 - searchSongs, 2008 - searchSonata 181, 2011), die algorithmisch generierte Texte aufführt. Konstante dieser Trilogie ist die Verwendung von Worten, die gerade in Suchmaschinen wie Google & Co. eingegeben werden. Diese Suchworte werden algorithmisch verarbeitet. 
   Im ersten Teil, bei searchLutz!, zu Texten, im zweiten, bei searchSongs, zu Tönen und im letzten, der searchSonata 181, zu Lauten, die ja die akustische Brücke bilden zwischen Text und Ton. Das Webinterface der searchSonata 181 ist nur Mittel zum Zweck. Das Eigentliche entsteht, wenn die algorithmisch generierten Texte live durch eine Sprecherin performt werden. Die Botschaft muss durch den Algorithmus hindurch, ohne dort hängen zu bleiben.

   Beat Suter - 01.10.2011 - 13:46

2. Search Trilogy

   The SEARCH TRILOGY (search lutz!, 2006 - searchSongs, 2008 - searchSonata 181 , 2011) performes algorithmically generated texts. 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 processed by algorithm for further use. 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 in the latest piece, searchSonata 181, into phonetics as an acoustic bridge between text and sound. The web interfaces of search Lutz!, searchSongs and searchSonata 181 are a means to an end. The essence emerges with a live performance of the algorithmically generated texts. The texts are played back into real space: the message has to pass through the algorithm without getting caught there.

   Elisabeth Nesheim - 12.08.2012 - 12:13

3. Search Lutz!

   More than 50 years ago a calculator generated a literary text for the first time ever. This happened in Stuttgart, Germany. In 1959 Theo Lutz wrote a programme for Zuse Z22 to create stochastic texts. Following Max Bense’s (Stuttgardian philosopher) advice, he took sixteen nouns and adjectives out of Kafka’s "Schloss," which the calculator then formed into sentences, following certain patterns. Thus, every sentence began with either "ein" or "jeder" ("one" or "each") or the corresponding negative form "kein" or "nicht jeder" ("no" or "not everybody"). Then the noun, selected arbitrarily from the pool of sixteen given nouns, was linked through the verb "ist" ("is") with the likewise arbitrarily chosen adjective. Last, the whole construction was linked up through "und," "oder," "so gilt" ("and," "either," "thus") or given a full stop.

   Johannes Auer - 05.11.2012 - 12:29