Alessandro Carboni MIT 06

La struttura dell’errore Meccaniche, memoria e sistemi chiusi nella pratica di composizione in tempo-reale di Alessandro Carboni.

Introduzione. Uno dei principali fenomeni durante la pratica della composizione in tempo reale è la totale concentrazione sull’attimo, sulla striscia del presente che scorre sul filo del tempo. In questo stato completamente caotico, in cui può avvenire il tutto, cerchiamo di organizzare i flussi di informazioni attraverso veloci processi di catalogazione mentale difficilmente chiarificabili.
Questa pratica è diventata per noi materia viva, struttura portante, su cui focalizzare i nodi principali del nostro lavoro. Infatti da circa 3 anni abbiamo sviluppato questa pratica di composizione attraverso la costituzione del Sistema Trilite, una piattaforma metodologica su cui abbiamo basato tutto il nostro lavoro. Il Sistema Trilite è in oggetto organico, mobile, che si pone tra noi e il mondo, come un filtro, come una griglia. Mettersi alla prova, verificando le nostre potenzialità attraverso la frizione mnemonica dell’attimo compositivo, crea uno stato estatico assolutamente unico. Esso diventa impossibile da ricreare durante la scrittura di una partitura coreografica o musicale su carta e penna che mira ad organizzare a priori una sequenza compositiva. In questi attimi, i dispositivi di lettura e razionalizzazione meccanica della memoria si aprono e si affidano soltanto al gesto del corpo, che vibrante, risponde al flusso di impulsi che scorrono nello spazio. Non esistono tentennamenti, ma fragili attimi in cui agiamo in modo deciso.

Morfogenesi e modalità di funzionamento.
Generalmente, la memoria è considerata come una delle più importanti capacità dell’uomo che permette ritenere e richiamare cognizioni acquisite. La memoria è un entità fisica. E’ uno spazio in continua trasformazione, fatto di materiali volatili, incandescenti, che bruciano, che cambiano stato velocemente e che non permettono di focalizzare nulla in un contorno preciso. A volte la memoria rifiuta di accumulare, non riesce leggere le informazioni che si stratificano come in un dispositivo magnetico registra i dati di un calcolatore. La qualità della memoria è bassa. La memoria agisce come gli aghi di una vecchia stampante che non riesce a trascrivere i dati su un foglio.
Le più recenti ricerche hanno cercato razionalizzare questo fenomeno stabilendo che le informazioni vengono immagazzinate nella memoria in differenti “depositi” da cui vengono richiamate. La “memoria sensitiva” trattiene per pochi attimi le informazioni che provengono dagli organi di senso, scartandone il 75%. Del rimanente 25% solo meno dell’ 1% viene selezionato nell’area del linguaggio e immagazzinato nella “memoria primaria”, (memoria a breve termine), il deposito più limitato dell’encefalo. L’encefalo è in grado di astrarre impressioni figurate, verbalizzare quanto appreso e associarlo con informazioni precedenti. Maggiori sono le possibili associazioni e più è facile che quanto appreso sia ricordato per tempi più lunghi. Le informazioni sono trattenute nella memoria primaria per un periodo variabile tra pochi secondi e alcuni minuti. Si è constatato che se parti dell’encefalo vengono distrutte per esempio da un ictus, non vengono cancellate informazioni specifiche memorizzate. Non esistono cioè delle zone dove vengono memorizzati singoli dati, come in un disco fisso di un computer. Ogni informazione è ripartita attraverso un interno complesso castello di cellule. Se si richiama alla memoria un dato è sufficiente presentare una piccola parte del modello (una associazione) e l’intero modello viene ricostruito. Se diverse associazioni vengono usate per modelli simili si possono creare confusioni. L’encefalo, in conclusione, non memorizza i dati come fossero una fotografia, ma attraverso associazioni, con un procedimento simile all’ologramma, ed è possibile, anche quando non tutti i dati vengono richiamati, ottenere comunque un’immagine intera, anche se sfocata. Questo ci aiuta a individuare le caratteristiche somatiche del processo mnemonico. Ma andiamo avanti. Ci sono due meccanismi di immagazzinamento delle informazioni, uno per la memoria a breve termine (MBT) e uno per la memoria a lungo termine (MLT). Nelle memoria temporanea (a breve termine) si verifica un rapido deterioramento delle informazioni, mentre la memoria a lungo termine conserva le informazioni in modo sostanzialmente stabile.
L’informazione che arriva alla MBT, se non è oggetto di attenzione, comincia subito a cancellarsi anche se, mediante una ripetizione, può essere restaurata. La capacità della memoria a breve termine è quindi limitata: se un informazione non viene ripetuta con sufficiente frequenza, scompare. Il complesso dei dati presenti in ogni istante nella memoria a breve termine viene detto “cuscinetto di ripetizione”. L’informazione viene conservata nel “cuscinetto” finché non è trasferita nella memoria a lungo termine o finché non è rimpiazzata da una nuova. La memoria a lungo termine si considera essere virtualmente illimitata, ma la riattivazione di un’informazione può essere impedita dall’incompletezza delle associazioni necessarie alla sua identificazione. La rievocazione immediata di un’informazione può mancare perché non è stata trasmessa alla memoria a lungo termine. La rievocazione di un’informazione della memoria a lungo termine può mancare perché non ci sono sufficienti legami per metterli a fuoco. Questo è il fenomeno che normalmente assistiamo quando ci dimentichiamo di qualcuno o di qualcosa.

Deformazione e scarti di processo.
Durante la composizione in tempo reale ci troviamo sommersi da una densa onda di entità, dati, informazioni che, violentemente come come chiodi, ci trapassano. Il corpo è magnetico, la memoria è magnetica. Tutto si appiccica, come la limatura di ferro si attacca ad una calamita. La lettura di questo terremoto sensoriale è affidato alla memoria che catalaloga tutte le informazioni. Ma cosa significa la parola informazione? L’etimologia latina della parola “informazione” ci indica come l’atto di in-formare in realtà sia un atto fisico. Infatti “formare”, dare forma a qualcosa, diventa l’atto del formare , la de-formazione e trasformazione del supporto in cui l’informazione stessa viene catalogata. Durante il processo di memorizzazione dell’informazione, si assiste ad un atto di deformazione interna, una deformazione celebrale. Una trasformazione dimensionale del cervello che, ogni qual volta viene riceve una informazione, come un sacco, si riempie. Se questa azzardata teoria, in altre sedi ci verrà confermata, possiamo supporre che, durante la fase dell’esercizio, la memoria e le sue meccaniche di elaborazione e restituzione dell’informazione attraverso il gesto, è un nodo centrale della pratica. Si assiste ad un doppio fenomeno, ad una doppia trasformazione. Una deformazione morfologia spaziale interna e contemporaneamente esterna, in due piani diversi. La prima è interna. L’atto di ricezione della informazione modifica, scolpisce, ingrossa la struttura celebrale, modifica la sua dimensione. Questo processo di deformazione è ovviamente invisibile, ma estremamente concreto e reale. La seconda è una deformazione esterna visibile. I corpi che agiscono durante l’esercizio, rispondono agli impulsi, ritrasmettendo i segnali attraverso il gesto, immediate azioni, visibili sullo spazio.
Cosa succede se a questo punto la nostra perfetta macchina di ricezione e trasmissione delle informazioni non risponde piu in maniera fedele ai nostri ordini? Cosa succede se la de-formazione dell’informazione ricevuta fosse tale che la nostra memoria non può restituire quei minimi indizi per ricostruire l’informazione e restituire il gesto riconducibile analogicamente alla fonte originale? Cosa succede in questo momento di confusione? Possiamo considerare questa deformazione come un errore del sistema? Cosa è questa nuova immagine, il nuovo gesto che si crea dallo scarto tra informazione originale e la sua ricostruzione? Solitamente incominciamo a creare nuovi percorsi al buio per poter ritrovare le associazioni necessarie per ristrutturare il ricordo. L’immagine che salta fuori ha qualcosa di strano, i suoi lati sono sfuocati. Il ricordo non è completamente chiaro, ci possiamo anche sbagliare. In questi attimi, non ci sentiamo in grado di considerare l’errore come un fenomeno di dimenticanza, ma piuttosto come negazione del ricordo. Lo scarto tra l’originale e l’immagine creata come gesto dalla memoria diventa l’oblio menemonico, la sorgente per creare nuovi pattern creativi. Non intendiamo esplorare quello che ci ricordiamo, ma considerare solo quello che non ci ricordiamo. Vogliamo concentrarci su quello che si crea durante il fenomeno della deformazione, quando una errata informazione può creare catastrofi di misure sproporzionate. Ci concentriamo sull’imprevisto, su quello che nasce dalla dimenticanza e da quello che si crea percorrendo vie errate. L’errore diveta un oggetto informe imprevedibile.
Il problema si spacca ancora in mille pezzi! Incominciamo a chiederci se l’errore sia dovuto semplicemente dalla materia labile e poco affidabile di bassa definizione che costituisce il cervello, oppure sia un problema di tecnica o di esercizio? Non potendo fare altro, cerchiamo di aumentare di un grado la complessità del problema. Alan Turing, nei suoi discorsi sull’intelligenza artificiale, sosteneva che anche le macchine, per quanto progettate per non sbagliare, hanno diritto di commettere degli errori. Nonostante tutto l’errore non si può calcolare se non con dei complessi sistemi di probabilità. Quindi se la dimenticanza è un errore del sistema, come osservare il fenomeno dell’errore se questo è soltanto il risultato di un imprevisto? Troviamo che metodo più preciso per calcolare l’errore sia tendere alla perfezione. Infatti la perfezione esclude qualsiasi errore. Escludendo ogni possibilità di errore, soltanto l’imprevisto può creare l’errore. Non intendiamo per questo provocare l’errore maneggiando complessità superiori alla nostra portata, ma assaporare il limite delle complessità per verificare le possibilità. Allora se l’errore è soltanto un atto di negazione del ricordo, che ci permette di generare nuovi patter creativi, perchè considerare ancora l’errore come una paralisi creativa? Perchè non incominciare a considerare l’errore come la vera essenza dell’atto creativo? Forse abbiamo bisogno ancora di tempo, di esercizio, per poter costruire strutture solide che ci permettano di sorreggere tutto il discorso. Ripartiamo di nuovo da zero, ma stavolta proviamo ad estendere il problema nel reale. (www.ooffouro.org)

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