PerformanceWithoutOrder
UnderstandingtheroleoflearningandgoalsinGordonPask’sMusicolour
Abstract
Howcanamachineachieveasynestheticcombinationoflightandsound?Notinapredictablefashion,ratherina mannerthatisinteresting,unexpected,andoriginal? Inthe1950s,GordonPaskdevelopedamachinetoexplore theconceptofsynesthesia-foregroundedbyitsinteractionwithahuman.Bydesigningthissystembasedon lightsandsound,toobservehowauditoryandvisualstimulationcouldinfluenceoneanother,themachineand theperformerwereabletoexhibitbehaviorsthatcouldnothavebeenpremeditatedfromthestartofthis interaction.Uponcloseobservationofthisperformance,thereisaprocessoflearningthattakesplacebetween themachineandthehuman,andthisprocesswastheunderlying variablethatcontinuedtoyieldnewbehaviors intheperformance. Themachinewasdesignedtobeself-regulating,withtheabilitytoadaptandmodifyitsown behavior basedonfeedbackfromtheperformer1. Thefeedback receivedbythemachinewasabletochangethe generalpatternofperformanceandtoforegroundaprocedure calledlearning2
Thisinteractionbetweentwoexceedinglycomplexsystems–thehumanandthemachine–wasatributeto Pask’sinterestincybernetics.Thenatureofcognitionandperception,andthemachine'scapacityforselfawarenessandexteroceptionaresomefundamentalpropertiesthatinformadeviationfrom cyberneticstoasecondorder whichdistinguishescontrolfromcommunication. Secondordercybernetics recognizes underlyingdecision-makingprocessesandpatternsof action3
WhilethisconceptoflearningsetasideMusicolourfrom -orderapproachtofeedback,theconceptofgoals wasalsoanattempttosetasideMusicolourfromsomeofitspredecessorswithinthecontextofcyberneticssuch RossAshby’sHomeostat. Pask’sMusicolourisevaluatedinthisessaywithinthecontextoflearningasadriving force for emergentbehavior,andtheroleof goalsincapturingthecomplexitiesof thelearning process.
ResearchQuestion: HowdidMusicolourencapsulatethesubjectoflearningintheperformance?Whywasthe conceptoflearningimportantinthedevelopmentof cyberneticsystems?
Keywords: Learning,Feedback,Cybernetics,Control
1.Weiner,Norbert.TheHumanuseofHumanBeings.Cambridge:TheRiverside press,1950.
2.Weiner,Norbert.Cybernetics:OrControlandCommunicationintheAnimalandtheMachine.London,England:TheMITPress,2019.
3.Pask,Gordon.AComment,acasehistory,aplan.[bookauth.]JasiaReichardt.Cybernetics,artandideas.London:StudioVista,1971,pp. 76-92.
TableofContents Introduction5 WhatisMusicolour –Learning SynaesthesiaandExteroception5 TowardsaSecondOrderApproach8 CommunicationandControl8 A LearningPerformance9 CyberneticsandLearning9 TheHomeostatandLearning9 Conclusion11
Introduction
WhatisMusicolour–Learning,SynaesthesiaandExteroception
MusicolourwasdevelopedbyGordonPaskin1953tounderstandtheprocessoflearning.Makinguseofelectronic circuitstosimulatethenervoussystem,Paskcouldexplorestudytheprocessoflearninginthisadaptivemachine4 Thesoundofamusicalperformancebeingtheinput,andadynamiclightshowbeingtheoutput,themachine cooperatedwiththemusicperformertocreateasynestheticcombinationofauditoryandvisualexperiences. Musicolourwasdesignedtobeaself-regulatingsystem,withtheabilitytoadaptandmodifyitsownbehaviourin responsetotheinputitreceived.Incontrasttomoderndisco-colouredlightswhicharemerelyprogrammedtobe inperfectsynchronywiththesoundsofthemusic,thesystemactedasanextensionoftheperformerwhere neitherthehumannorthemachinewascontrollingtheperformance.Instead,theperformerlearnedfromthe machineandvice-versa.
Thedevicefunctionedbyconvertingtheelectricalsignalfromamicrophone,whichpickedupthesoundofa musicalperformance,intoasetofcontrolsignalsthatdrovedifferentcolouredlights.Theaudiosignalwaspassed throughaseriesofa ltersthatweresensitivetodifferentfrequencies,rhythms,andothermusical colourofthelights.Theinfluence ofthehumaninput(sounds)onthemachine’soutput(light)didnotoccurinalinearandpredictablefashion5.The machinewasabletolearnovertimeandincorporatedfeedbackloopsandadaptivethresholddevicesthatenabled ittomodifyitsbehaviour.Themachinewouldgetboredonthebasisofmonotonyandceasetorespond,prompting theperformertoattempttomodifyhisorherapproach.Thisself-adaptivecapabilityofMusicolourwasacentral aspectofPask'sexplorationoflearningandcognitioninthecontextoftheMusicolour.Paskhadoftenstatedthat manisalwaysseekingtoachievenewgoalsfor himself,andheintendedtoexplorethisstrategyofacontinuous reformationof goalsinthedesignofMusicolour.
Oneof thekey conceptsexploredintheMusicolourwas synaesthesia -theblendingof sensorymodalities,where stimulationinonesenseautomaticallytriggersaperceptioninanother6. Theresultinglightshowwasintendedto createasynestheticexperience,wheretheaudiencecouldperceivethemusicasavisualdisplay.Pask's explorationofsynaesthesiaintheMusicolourmachinewasmotivatedbyhisinterestinunderstandingthenature ofperceptionandcognition.Bycreatingadevicethatcouldtranslateonesensorymodalityintoanother,hehoped togaininsightsintotheunderlyingneuralmechanismsandcognitiveprocessesinvolvedinperceptionand learning.
AnotherkeyinterrogationexploredbytheMusicolourwastheconceptof self-awarenessandexteroception -the abilityofasystemtoperceiveandrespondtoitsexternalenvironment7.Thedevicewasdesignedtobeaselfadaptivesystem,meaningthatitcouldlearnandmodifyitsownbehaviourinresponsetotheinputitreceivedfrom themusicalperformance.Paskbelievedthatthiscapacityforself-awarenesswasacrucialaspectoflearningand adaptation,andhewantedtoexplorehowit couldbeimplementedinatechnologicalsystemliketheMusicolour8
4.Weiner,Norbert.TheHumanuseofHumanBeings.Cambridge:TheRiverside press,1950.
5.Ibid.
6.Pickering,Andrew.GordonPask.Thecybernetic brain:sketchesofanotherfuture.Chicago,UniversityofChicagoPress,2010, pp.309-371.
7.Spyropolous,Theodore.ConstructingParticipatoryEnvironments,ABehaviouralModelforDesign.DoctoralThesis.London: UCL(UniversityCollegeLondon),2017.
8.Cytowic,RichardE.Synesthesia,Aunionofthesenses(2nded.).BostonReview., 2002.
AV4 y5 C5 PF5 x5 y3 PF3 AV2 PF2 C2 MEMORY2 AV1 PF1 C1 MEMORY1 Y1 CHANGE OF POWER LEVEL Y6 C3 x2 x1 AV3 A.T.1 A.T.2 A.T.3 A.T.4 A.T.5 x3 MAIN AMP MEMORY3 MEMORY4 MEMORY5 COMPUTE VALUESOF i AV5 CHANGE OF POWER LEVEL AND SUITABLE DELAY VISUAL DISPLAY y4 x4 C4 PF4
Figure1:LogicDiagramforMusicolour.T tersassignthesignalsacertainyvaluewhichistranslatedintoxinputsthat influencethefrequencyoflight.TheAdaptiveThresholdsareresponsibleforitsboredomfeature(Spyropolous2017).
Figure2:Musicolour’selectrochemicsystemactsbyelectrolysisto navigatetheprojectionsofthecolour patterns(Pickering2010).
Figure3:Musicolour’sProjectionwheel,controlledbyaservomechanism(Pickering2010).
TowardsaSecondOrderApproach
Communicationandcontrol.
Whenviewedthroughthelensofcommunicationandcontrol,Musicolourestablishedtheserelationshipsbetween themachineandtheperformer,themachineandtheaudience.Bytranslatingthemusicalperformanceintoa dynamiclightshow,themachinecreatedasynestheticexperience,wheretheaudiencecouldperceivethemusic asavisualdisplay9.Thiscommunicationbetweenthemachineandtheaudiencewasacentralaspectofthe Musicolour'spurposeasPaskwasinterestedinexploringhowtechnologycouldbeusedtocreatenewand engaging experiences.However,thecommunicationbetweenthehumanperformerandtheMusicolourwasalot moreimportantsincetheperformerwastaskedwith "training" themachine,usingtheirperformancetoshapethe lightshowinreal-time10.Thisprocessofmutualadaptationandlearningbetweentheperformerandthemachine wasakeyaspectoftheMusicolour'sdesign,asPaskbelievedthattruecommunicationcouldonlyemergefrom thiskindof cooperativeinteraction.
Pask'sunderstandingof controldiffered fromthemoreauthoritariannotionsoftenassociatedwith cybernetics11 Intheperformance,controlwaslessfocusedonasuperiorandan wordwouldusually suggest,butratheracooperativedanceofagencybetweenthetwo12.Theperformercouldnotsimplydictatethe behaviourofthemachine,buthadtoworkwithit,exploringthepossibilitiesandconstraintsofthesystemthrough theirperformance.Pask'sviewofcontrolwasoneof“comingtotermswith" or "explaining"thesystem,ratherthan dominatingit13. Hisrecognisedthegapbetweencommunicationandcontrolwastheabilityofamachinetoalter itspatternbasedonfeedback14.Themachineinvitedtheperformerandtheaudiencetoengagewithit,todiscover its capabilitiesandlimitations,andto createnewandunexpectedexperiencesthroughtheirinteractions.
9.Spyropolous,Theodore.Constructing ParticipatoryEnvironments,ABehaviouralModelforDesign.DoctoralThesis.London:UCL(UniversityCollegeLondon), 2017.
10.Weiner,Norbert.TheHumanuseofHumanBeings.Cambridge:TheRiverside press, 1950.
11.Cytowic,RichardE.Synesthesia,Aunionofthesenses(2nded.).BostonReview.,2002.
12.Weiner,Norbert.TheHumanuseofHumanBeings.Cambridge:TheRiverside press, 1950.
13.Ibid
14.Lissack,Michael.CyberneticsandControl.[bookauth.]GaryS.Metcalf,KyoichiKijimaandHiroshiDeguchi.HandbookofSystemsSciences.Singapore:SpringerNature, 2021.
Figure4:Musicolour atBolton’sTheatreClub,SouthKensington(Pickering2010).ALearningPerformance
CyberneticsandLearning
Pask'sexplorationofself-regulationandadaptivecontrolintheMusicolour reflectedhisbroaderinterestin cyberneticsandthewaysinwhichcomplexsystemscouldbedesignedandmanaged.Musicolourwasdescribed byAndrewPickeringas‘anontologicaltheatre’sinceitstagedthecyberneticontology.Inotherwords,itstaged theinteractionoftwocomplexsystems-thehuman,andthemachine.Thisinteractiverelationshipbetweenthe humanandmachinewithanaimofmutualunderstandingistheessenceofcybernetics15. Itisa“theoryof machines”buttreats,notthingsbutwaysofbehaving. Itdoesnotask“whatisthisthing?”but“whatdoesitdo?16 Thisperformativeapproachtolearning wastheexactrationalebehindtheMusicolourperformance. Withthe machineandhumanlearnduringtheperformanceaboutoneanother.Thelearnerlearnedperformativelyrather thancognitively17 sincePaskviewedlearningasaformoffeedback,wherethepatternofbehaviour pastexperiences. Themachine'sabilitytoadaptandexplorenewpossibilitieswithintheconstraintsofitsdesign wasakeyfeatureof itslearning capabilities.
TheHomeostatandlearning-Goals
WhileMusicolourappliedaconversionistapproach,itwillbeinterestingtoseehowGordonPask’sMusicolour improvedupontheideasofthehomeostatintheconversation.Atthecoreofthehomeostatwastheideaofa systemthatcouldmaintainastablestateinthefaceofdisturbances,aconceptknownashomeostasis. Ross Ashby's ‘thinkingmachine’ consistedofasetofinterconnectedelectromagneticunitsthatwouldadjusttheir internalparameterstocounteractanychangesintheirenvironment,effectively"regulating"themselves.This cyberneticontology,wherethe characteristic ordercybernetics.Second-ordercyberneticsquestionsabouttheimportanceoftheinterplaybetweensystemand environment,while -ordercyberneticswashappytoinvestigatesystemsasindependentfromtheir surroundingswithanemphasison communicationaccuracyandinformationadequacy.Nowthattheexogenous hasbecomeendogenous,thesegoalscannotbedeterminedbyanyexternal criterion18
Pask'sMusicolour, -orientedviewof der cybernetic systems.Andtowardsasecondorderapproach.Ratherthanstrivingforapredeterminedstateofbalancebetween theperformerandthemachine,themachinewasdesignedtoengageinamoreopen-ended"danceofagency" betweenthehumanperformerandthemachine19. Themachine ofcreatingasynestheticexperiencebytranslatingsoundintolight.Instead,theperformerhadto"train"the machine,exploringthepossibilitiesandconstraintsofthesystemthroughtheirperformance.Thisprocessof mutualadaptationandlearningbetweenthehumanandthemachinewaskeytoMusicolour'sdesignandastep closertothetruenatureof learning comparedtowhatisobservedintheHomeostat.
15.Pask,Gordon.AComment,acasehistory,a
17.Weiner,Norbert.TheHumanuseofHumanBeings.Cambridge:TheRiverside
18.Pask,Gordon.AnApproachToCybernetics.Hutchinson,1961.
19.Weiner,Norbert.TheHumanuseofHumanBeings.Cambridge:TheRiverside
plan.[bookauth.]JasiaReichardt.Cybernetics,artandideas.London:StudioVista,1971,pp. 76-92. 16.Lissack,Michael.CyberneticsandControl.[bookauth.]GaryS.Metcalf,KyoichiKijimaandHiroshiDeguchi.HandbookofSystemsSciences.Singapore:SpringerNature, 2021.
press, 1950.
press, 1950.
Musicolourdidnotsimplyseektomaintainastablestate,butratherexploredawiderangeofpossibilities,with thepotentialfornovelandunexpectedbehaviourstoemerge. Thisembraceofcomplexityandemergencewasa ,andakeyaspectof
Pask’sconversationtheory.Paskrecognizedthatanunderstandingoflearning andrequiredanopen-endedand exploratoryapproach.Moreover,Pask'swillingnesstoexploretheMusicolour'spotentialasbothanartformand a commercialproductdemonstratedhisdesiretointegrate cyberneticsintothe fabric of everydaylife20
20.Pickering,Andrew.GordonPask.Thecybernetic
Figure5:RossAshby’sHomeostatSetups (Pickering2010). Figure6:GordonPask’sconversationtheoryDiagram (Spyropolous2017).I A I B O A O B
brain: sketchesofanotherfuture.Chicago,UniversityofChicagoPress,2010,pp.309-371. A B
Conclusion
BeyondMusicolour
AsinsightfulastheMusicolourwas,itcanbearguedthatitfailedtofullycapturethecomplexityofthelearning process,asunderstoodthroughtheworkofcyberneticspioneerNorbertWiener.AtthecoreoftheMusicolourwas theconceptoffeedback,wherethemachinewouldadaptitsbehaviourinresponsetotheinputitreceivedfrom themusicalperformance. Whilethisfeedback enabledthemachinetobehaveincontrasttomorerigid,goalorientedsystems,asitallowedtheMusicolourtolearnandevolveovertime,Thesimplefeedbackloopswhich changedonaccountof tersanditstendencytogetboredwerenotenoughtocapturethe complexityinherentinthesubjectoflearning.NorbertWiener'sunderstandingoflearningwentbeyondsimple feedbackloops.Herecognizedthatlearningisa"mostcomplicatedformoffeedback,"onethat"influencesnot merelytheindividualaction,butthepatternofaction21. Thisimpliesthattruelearninginvolvesnotjustadjusting behaviours,butacontinuoustransformationoftheunderlyingdecision-makingprocessesandpatterns ofbehaviour.ThoughMusicolour,whileadaptive,itwasstilllimitedinitsabilitytomodifyitsown"patternofaction." correspondinglightdisplays.Itdidnotdemonstratethekindofdeep,structurallearningthatWienersawas essentialtotrulyintelligentsystems.
Anotherimportantpointtonoteisthedistinctionbetweenwhatamachinecanlearn(preference)andwhatit cannot(constraint)22. Thepredeterminedstructureandneedforhumaninterventiontoguidethedevelopmentof themachineweretheprevailingconstraintsofthesystem.ThisconstraintwashighlightedbyPaskhimself.He statedthatattemptstoengagetheaudienceintheperformancegavedisappointingresults23.Thisisanindication thatthesetupwasconstrainedtoonepersonatatimeandwhilethebehaviourofthemachineisinnovativeand emotive,it failedtocapturethiskeyaspectof learning.Learning sometimesinvolvesthereceptionof information relevantdataconcerningaparticularsubject.Musicolourwas constrainedtooneinputsourceof informationwhichmosttimescanbeperceivedasadangertothetruenature oflearning.Incontrast,Wienerenvisionedlearningmachinesthatcouldtranscendsuchconstraints,exploringa
21.Lissack,Michael.CyberneticsandControl.[bookauth.]GaryS.Metcalf,KyoichiKijimaandHiroshiDeguchi.HandbookofSystemsSciences.Singapore:SpringerNature, 2021.
22.Weiner,Norbert.Cybernetics:OrControlandCommunicationintheAnimalandtheMachine.London,England:TheMITPress, 2019.
23.Pickering,Andrew.GordonPask.Thecybernetic brain: sketchesofanotherfuture.Chicago,UniversityofChicagoPress,2010,pp.309-371.
Figure7:Apotentialapplicationofenvironmentalfeedbackanddisturbanceinthecyberneticsystem(Lissack2021)Inchapter 2,wediscussedtheroleofgoalsinshaping Musicolour’slearning experience.However,the understandingoftheconceptofgoalscouldbetakenastep furthertoenhancetheunderstandingofthisconcept oflearning. Pasknotesthatduringthelatterstagesoftheperformance,theperformer'sinteractionwiththe Musicolourbecamemoreadvanced,thegoalsandcontrolofthesystemshiftedtoa"higherlevelofabstraction", nce.
Whilethehumancouldtrainthemachine,thehumanmerelytrainedthemachinetoadoptavisualstyletosuitthe performance.Woulditbemoreinterestingifthistraining allowedthemachinetonotonlyincreaseitsadaptive thresholdwhenitgotbored,buttochangetheparametersassociatedtothedifferentsoundfrequencies,which werealwayspredeterminedfromthestart24.This wouldbeanattempttorandomise,ratherthanremaptheinput frequencyvaluestocontinuallycreatedifferentpatternsofbehaviour. Thiscouldhavebeenachievedby incorporatingmemorymechanismstostoreandanalysepatternsofpastperformanceandusingthatinformation todynamicallyupdatethesystem'sbehaviour.Thiswillbeamuchwiderembodimentoftheunpredictableandthe unexpectedwhichWeinersawasessentialtothegrowthanddevelopmentofintelligentsystems25.Pickering seemstohavebeenconsciousofthisbecausehestates“Musicolour wasareactiveenvironmentwhichdidnot formulatenewgoalsforitsownperformances”26 andPaskhimselfdescribesMusicolourasamachinecapableof consequentialperformanceinteraction27
ItcouldthereforebearguedthattheselimitationsofMusicolouroncapturingthecomplexityofthelearning processwereavalidreasonfor Pasktofurtherhisunderstandingoflearning bylater exploringtheColloquyof Mobiles.Themachineisasetupofdifferentpartswhichcouldcommunicatewithoneanother withanaimto satisfytheirdrivesandallowtheinputofhumanstotrainandchangetheseparameters28.Thisnewsetupcreated acontinuouslyalteredgoalanddynamicpatternofbehaviour.TheinsightintothevalueofgoalshelpedPask to conceiveamachinewithchanginggoals,ratherthanonewithnogoalsandthisisdevelopmentisaappraisalof hishypothesis–manisalwaysseekingtoachievemoregoals.
24.Pickering,Andrew.GordonPask.Thecybernetic brain: sketchesofanotherfuture.Chicago,UniversityofChicagoPress,2010,pp.309-371. 25.Lissack,Michael.CyberneticsandControl.[bookauth.]GaryS.Metcalf,KyoichiKijimaandHiroshiDeguchi.HandbookofSystemsSciences.Singapore:SpringerNature, 2021.
26.Weiner,Norbert.TheHumanuseofHumanBeings.Cambridge:TheRiverside press, 1950.
27.Pickering,Andrew.GordonPask.Thecybernetic brain: sketchesofanotherfuture.Chicago,UniversityofChicagoPress,2010,pp.309-371. 28.Weiner,Norbert.TheHumanuseofHumanBeings.Cambridge:TheRiverside press, 1950.
Figure8:TheColloquyofMobiles couldformulateitsowngoalsandhumanswerecapableofinfluencingthesegoals(Pickering2010).Bibliography
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ListofFigures
Figure1: LogicDiagramforMusicolour.T tersassignthesignalsacertainyvaluewhichistranslated intoxinputsthatinfluencethefrequencyoflight.TheAdaptiveThresholdsareresponsibleforitsboredom feature(Spyropolous2017). Spyropolous,Theodore.2017. ConstructingParticipatoryEnviroments:A BehaviouralModelforDesign.DoctoralThesis. London:UCL(UniversityCollegeLondon). https://discovery.ucl.ac.uk/id/eprint/1574512/.
Figure2:Musicolour’selectrochemicsystemactsbyelectrolysistonavigatetheprojectionsofthecolourpatterns (Pickering2010) Pickering,Andrew.2010."GordonPask."In Thecyberneticbrain:sketchesofanotherfuture, byAndrewPickering,309-371.Chicago:Universityof ChicagoPress.
Figure3:Musicolour’sProjectionwheel,controlledbyaservomechanism(Pickering2010). Pickering,Andrew.2010. "GordonPask."In Thecyberneticbrain:sketchesofanotherfuture,byAndrewPickering,309-371.Chicago: Universityof ChicagoPress.
Figure4:MusicolouratBolton’sTheatreClub,SouthKensington(Pickering2010). Pickering,Andrew.2010."Gordon Pask."In Thecyberneticbrain:sketchesofanotherfuture,byAndrewPickering,309-371.Chicago:University of ChicagoPress.
Figure5: RossAshby’sHomeostatSetups(Pickering2010). Pickering,Andrew.2010."GordonPask."In The cyberneticbrain:sketchesofanotherfuture,byAndrewPickering,309-371.Chicago:UniversityofChicago Press.
Figure6: GordonPask’sconversationtheoryDiagram(Spyropolous2017) Spyropolous,Theodore.2017. ConstructingParticipatoryEnviroments:ABehaviouralModelforDesign.DoctoralThesis. London:UCL (UniversityCollegeLondon).https://discovery.ucl.ac.uk/id/eprint/1574512/.
Figure7: Apotentialapplicationofenvironmentalfeedbackanddisturbanceinthecyberneticsystem(Lissack2021) Lissack,Michael.2021."CyberneticsandControl."In HandbookofSystemsSciences,byGaryS.Metcalf, KyoichiKijimaandHiroshiDeguchi.Singapore:SpringerNature.doi:https://doi.org/10.1007/978-981-150720-5_2.
Figure8: TheColloquyofMobilescouldformulateitsowngoalsandhumanswerecapableofinfluencingthesegoals (Pickering2010). Pickering,Andrew.2010."GordonPask."In Thecyberneticbrain:sketchesofanother future,byAndrewPickering,309-371.Chicago:Universityof ChicagoPress.