Terminal Compromise Part 17

Over the years Pierre excelled in performances and was critically acclaimed as having a magnificent future where he could call the shots. As a performer or composer. But Pierre had other ideas.

He was rapt in the study of the theory of music. How notes related to each other. How scales related to each other. What made certain atonalities subjectively pleasing yet others com- pletely offensive. He explored the relationships between Eastern polyphonic scales and the Western twelve note scale. Discord, harmony, melody, emotional responses; these were the true loves of Pierre Troubleaux.

Upon graduation from Julliard he announced, that contrary to his family's belief and desire, he would not seek advanced train- ing. Rather, he would continue his study of musical relationships which by now had become an obsession. There was little expertise in this specific area, so he pursued it alone. He wrote and arranged music only to provide him with enough funds to exist in his pallid Soho loft in downtown Manhattan.

He believed that there was an inherent underlying Natural Law that guided music and musical appreciation. If he could find that Law, he would have the formula for making perfect music every time. With the Law at the crux of all music, and with control over the Law, he ruminated, one could write a musical piece to suit the specific goals of the writer and create the desired effect on the listener. By formula.

In 1980 Pierre struggled to organize the unwieldy amount of data he had acc.u.mulated. His collections of interpretive musical a.n.a.lysis filled file cabinets and countless shelves. He relied on his memory to find anything in the reams of paper, and the situation was getting out of control. He needed a solution.

Max Jones was a casual acquaintance that Pierre had met at the Lone Star Cafe on the corner of 13th and 5th Avenue. The Lone Star was a New York fixture, capped with a 60 foot iguana on the roof. They both enjoyed the live country acts that played there.

Max played the roll of an Urban Cowboy who had temporarily given up Acid Rock in favor of s.h.i.t kickin' Southern Rock. Pierre found the musical phenomenon of Country Crossover Music intrigu- ing, so he rationalized that drinking and partying at the Lone Star was a worthwhile endeavor which contributed to his work.

That may have been partially true.

Max was a computer jock who worked for one of the Big Eight accounting firms in midtown Manhattan. A complex mixture of com- puter junkie, rock'n'roll aficionado and recreational drug user, Max maintained the integrity of large and small computer systems to pay the bills.

"That means they pretend to pay me and I pretend to work. I don't really do anything productive."

Max was an "ex-hippie who put on shoes to make a living" and a social anarchist at heart. At 27, Max had the rugged look that John Travolta popularized in the 70's but on a rock solid trim six foot five 240 pound frame. He dwarfed Pierre's mere five feet ten inches.

Pierre's cla.s.sic European good looks and tailored appearance, even in jeans and a T-shirt were a strong contrast to Max's ruddiness. Pierre's jet black hair was side parted and covered most of his ears as it gracefully tickled his shoulders.

Piercing black eyes stared over a prominent Roman nose and thin cheeks which tapered in an almost feminine chin. There was never any confusion, though; no one in their right mind would ever view Pierre as anything but a confirmed and practiced heteros.e.xual.

His years of romantic achievements proved it. The remnants of his French rearing created an unidentifiable formal and educated accent; one which held incredible s.e.x appeal to American women.

Max and Pierre sipped at their beers while Max rambled on about how wonderful computers were. They were going to change the world.

"In a few years every one on the planet will have his own comput- er and it will be connected to everyone else's computer. All information will be free and the planet will be a better place to live and so on . . ." Max's technical sermons bordered on reli- gious preaching. He had bought into the beliefs of Steven Jobs, the young charismatic founder and spiritual guiding force behind Apple Computer.

Pierre had heard it before, especially after Max had had a few.

His view of a future world with everyone sitting in front of a picture tube playing with numbers and more numbers . . .and then a thought hit him.

"Max . . .Max . . ." Pierre was trying to break into another one of Max's Apple pitches.

"Yeah . . .oh yeah, sorry Amigo. What's that you say?" Max sipped deeply on a long neck Long Star beer.

"These computers you play with . . ."

"Not play, work with. Work with!" He pointed emphatically at nothing in particular.

"OK, work with. Can these computers play, er, work with music?"

Max looked quizzically at Pierre. "Music, sure. You just program it in and out it comes. In fact, the Apple II is the ideal computer to play music. You can add a synthesizer chip and . . ."

"What if I don't know anything about computers?"

"Well, that makes it a little harder, but why doncha let me show you what I mean." Max smiled wide. This was what he loved, playing with computers and talking to people about them. The subject was still a mystery to the majority of people in 1980.

Pierre winced. He realized that if he took up Max on his offer he would be subjected to endless hours of computer war stories and technical esoterica he couldn't care less about. That may be the price though, he thought. I can always stop.

Over the following months they became fast friends as Pierre tutored under Max's guiding hand. Pierre found that the Apple had the ability to handle large amounts of data. With the new program called Visi-Calc, he made large charts of his music and their numbers and examined their relationships.

As Pierre learned more about applying computers to his studies in musical theory, his questions of Max and demands of the Apple became increasingly complex. One night after several beers and a couple of joints Pierre asked Max what he thought was a simple question.

"How can we program the Apple so that it knows what each piece of data means?" he inquired innocently.

"You can't do that, man." Max snorted. "Computers, yes even Apples are stupid. They're just a tool. A shovel doesn't know what kind of dirt it's digging, just that it's digging." He laughed out loud at the thought of a smart shovel.

Pierre found the a.n.a.logy worth a prolonged fit of giggles through which he managed to ask, "but what if you told the computer what it meant and it learned from there. On its own. Can't a com- puter learn?"

Max was seriously stoned. "Sure I guess so. Sure. In theory it could learn to do your job or mine. I remember a story I read by John Garth. It was called Giles Goat Boy. Yeah, Giles Goat Boy, what a t.i.tle. Essentially it's about this Goat, musta been a real smart goat cause he talked and thunk and acted like a kid."

They both roared at the double entendre of kid. That was worth another joint.

"At any rate," Max tried to control his spasmodic chuckles.

"At any rate, there were these two computers who competed for control of the world and this kid, I mean," laughing too hard to breath, "I mean this goat named Giles went on search of these computers to tell them they weren't doing a very good job."

"So, what has that got to do with an Apple learning," Pierre said wiping the tears from his eyes.

"Not a d.a.m.n thing!" They entered another spasm of laughter. "No really. Most people either think, or like to think that a com- puter can think. But they can't, at least not like you and me. "

Max had calmed down.

"So?" Pierre thought there might still be a point to this conver- sation.

"So, in theory, yeah, but probably not for a while. 10 years or so."

"In theory, what?" Pierre asked. He was lost.

"In theory a machine could think."

"Oh." Pierre was disappointed.

"But, you might be able to emulate thinking. H'mmmm." Max re- treated into mental oblivion as Abbey Road played in the back- ground. Anything from Apple records was required listening by Max.

"Emulate. Emulate? What's that? Hey, Max. What's emulate?

Hey Max, c'mon back to Earth. Emulate what?"

Max jolted back to reality. "Oh, copy. You know, act like.

Emulate. Don't they teach you emulation during s.e.x education in France?" They both thought that that was the funniest thing ever said, in any language for all of written and pre-history.

The substance of the evening's conversation went downhill from there.

A few days later Max came by Pierre's loft. "I been thinking."

"Scary thought. About what?" Pierre didn't look up from his Apple.

"About emulating thought. You know what we were talking about the other night."

"I can't remember this morning much less getting s.h.i.t faced with you the other night."

"You were going on and on about machines thinking. Remember?"