Turing Test was inspired by Lydia Goehr's book 'Imaginary Museum of Musical Works', which questions the concept and locus of a 'musical work'; is it contained in ideal form in a notated score, or does it exist only through a concrete performance, or is it the sum total of its performances? And how does a work of music maintain its identity across different performances? Whilst Goehr mainly dicusses examples from the notated classical canon, the basic questions can be naturally extended to improvisation, especially as it is typical in this practice for iterations of the same 'work' to sound extremely different, to the point where recognition of any common, sustained identity across these iterations becomes almost impossible. In response to this book, I became interested in constructing a piece that combines a freely improvised part with a completely automated and structurally predetermined electronic part that processes (and thus requires) this live input, creating an interdependent dialogue between an abstract structure and spontaneous live performance.