The "imitation game", as Turing calls it, led to the development of this composition. My compositions often employ machines, and sometimes attempt to convince these machines to "think" in order to provide the performer and/or the audience with an interactive partner. In the case of this composition, the score remains mechanistic, but the machine is replaced with the Contemporary Performance Ensemble. The Ensemble are place on each set of stairs outside of the concert hall, and the audience is encourage to move through the space for the duration of the piece. Each performer is given several specific instructions (if-then arguments, in essence) that relate to the audience's behavior and movement. However, these cues are based on stimuli that only a human could respond to--smell, personal experience, opinions, etc. The responses are specifically defined, though some indeterminacy remains in the system between events. In the spirit of Turing's test, I hope to create a second version of this piece for machines, and am interested in how that version will differ from the one presented tonight.