Let's call a string of characters that can be typed in an hour or less a "typable" string. In principle, all typable strings could be generated, and a team of intelligent programmers could throw out all the strings which cannot be interpreted as a conversation in which at least one party (say the second contributor) is making sense. The remaining strings (call them the sensible strings) could be stored in an hypothetical computer (say, with marks separating the contributions of the separate parties), which works as follows. The judge types in something. Then the machine locates a string that starts with the judge's remark, spitting back its next element. The judge then types something else. The machine finds a string that begins with the judge's first contribution, followed by the machine's, followed by the judge's next contribution (the string will be there since all sensible strings are there), and then the machine spits back its fourth element, and so on. (We can eliminate the simplifying assumption that the judge speaks first by recording pairs of strings; this would also allow the judge and the machine to talk at the same time.) Of course, such a machine is only logically possible, not physically possible. The number of strings is too vast to exist, and even if they could exist, they could never be accessed by any sort of a machine in anything like real time. But since we are considering a proposed definition of intelligence that is supposed to capture the concept of intelligence, conceptual possibility will do the job. If the concept of intelligence is supposed to be exhausted by the ability to pass the Turing Test, then even a universe in which the laws of physics are very different from ours should contain exactly as many unintelligent Turing test passers as married bachelors, namely zero.
In 2000, Coupland resumed a visual arts practice dormant since 1989. His is a post-medium practice that employs a variety of materials. A common theme in his work is a curiosity with the corrupting and seductive dimensions of pop culture and 20th century pop art , especially that of Andy Warhol . Another recurring theme is military imagery, the result of growing up in a military family at the height of the Cold War . He is represented by the Clark & Faria Gallery in Toronto. In June 2010 he announced his first efforts as a clothing designer by collaborating with Roots Canada on a collection that is a representation of classic Canadian icons. The Roots X Douglas Coupland collection was announced in The Globe and Mail and featured clothing, art installations, sculpture, custom designed art and retail spaces.
This is not to say that production never involves problem-solving or creativity, nor that design always involves creativity. Designs are rarely perfect and are sometimes repetitive. The imperfection of a design may task a production position (. production artist , construction worker ) with utilizing creativity or problem-solving skills to compensate for what was overlooked in the design process. Likewise, a design may be a simple repetition (copy) of a known preexisting solution, requiring minimal, if any, creativity or problem-solving skills from the designer.