Exhibition
The Turk made its debut in 1770 at Schönbrunn Palace, about six months after Pelletier's act. Kempelen addressed the court, presenting what he had built, and began the demonstration of the machine and its parts. With every showing of the Turk, Kempelen began by opening the doors and drawers of the cabinet, allowing members of the audience to inspect the machine. Following this display, Kempelen would announce that the machine was ready for a challenger.
Kempelen would inform the player that the Turk would use the white pieces and have the first move. Between moves the Turk kept its left arm on the cushion. The Turk could nod twice if it threatened its opponent's queen, and three times upon placing the king in check. If an opponent made an illegal move, the Turk would shake its head, move the piece back and make its own move, thus forcing a forfeit of its opponent's move. Louis Dutens, a traveller who observed a showing of the Turk, attempted to trick the machine "by giving the Queen the move of a Knight, but my mechanic opponent was not to be so imposed upon; he took up my Queen and replaced her in the square from which I had moved her." Kempelen made it a point to traverse the room during the match, and invited observers to bring magnets, irons, and lodestones to the cabinet to test whether the machine was run by a form of magnetism or weights. The first person to play the Turk was Count Ludwig von Cobenzl, an Austrian courtier at the palace. Along with other challengers that day, he was quickly defeated, with observers of the match stating that the machine played aggressively, and typically beat its opponents within thirty minutes.
Another part of the machine's exhibition was the completion of the knight's tour, a famed chess puzzle. The puzzle requires the player to move a knight around a chessboard, touching each square once along the way. While most experienced chess players of the time still struggled with the puzzle, the Turk was capable of completing the tour without any difficulty from any starting point via a pegboard used by the director with a mapping of the puzzle laid out.
The Turk also had the ability to converse with spectators using a letter board. The director, whose identity during the period when Kempelen presented the machine at Schönbrunn Palace is unknown, was able to do this in English, French, and German. Carl Friedrich Hindenburg, a university mathematician, kept a record of the conversations during the Turk's time in Leipzig and published it in 1789 as Über den Schachspieler des Herrn von Kempelen und dessen Nachbildung (or On the Chessplayer of Mr. von Kempelen And Its Replica). Topics of questions put to and answered by the Turk included its age, marital status, and its secret workings.
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Famous quotes containing the word exhibition:
“A man’s thinking goes on within his consciousness in a seclusion in comparison with which any physical seclusion is an exhibition to public view.”
—Ludwig Wittgenstein (1889–1951)
“The hardiest skeptic who has seen a horse broken, a pointer trained, or has visited a menagerie or the exhibition of the Industrious Fleas, will not deny the validity of education. “A boy,” says Plato, “is the most vicious of all beasts;” and in the same spirit the old English poet Gascoigne says, “A boy is better unborn than untaught.””
—Ralph Waldo Emerson (1803–1882)
“Work, as we usually think of it, is energy expended for a further end in view; play is energy expended for its own sake, as with children’s play, or as manifestation of the end or goal of work, as in “playing” chess or the piano. Play in this sense, then, is the fulfillment of work, the exhibition of what the work has been done for.”
—Northrop Frye (1912–1991)