GMU:Breaking the Timeline/projects: Difference between revisions

From Medien Wiki
mNo edit summary
 
(46 intermediate revisions by 7 users not shown)
Line 1: Line 1:
Projects from the course [[GMU:Breaking the Timeline|Breaking the Timeline]], a [[:Category:Fachmodul|Fachmodul]] by [[Max Neupert]], [[GMU:Start|Gestaltung medialer Umgebungen]] [[:Category:SS10|Summer Semester 2010]]:
Projects from the course [[GMU:Breaking the Timeline|Breaking the Timeline]], a [[:Category:Fachmodul|Fachmodul]] by [[Max Neupert]], [[GMU:Start|Gestaltung medialer Umgebungen]] [[:Category:SS10|Summer Semester 2010]]:


== [[Kyd Campbell]]: ==
== [[Kyd Campbell]]: [[/TAPE/]]==
===concept===
[[Image:tape1.jpg|thumb|250px|TAPE]]
I'm interested in exploring time-related breaks between the senses of sight and hearing. I believe there is a sensory gap when one moves in perception between the spaces of micro and macro. In this instance, time and sound are stretched, as the body adjusts to receiving intense macro detail. A journey/passage from one time/space environment to another is an overwhelming experience, a momentary loss of one's self into an aesthetic space, which may be considered cathartic.
I have recorded the [http://www.foruse.info numen/foruse] team building up a large installation of plastic packing tape in the Tempelhof airport in Berlin, for the Design fair. I am now using this footage (very short clips) and the sound from them. I will create tape sounds myself in front of my computer microphone, with a projection behind. and a Pd patch will relate the sounds made to the sounds in small video clips, creating visuals which jump between different clips of my recorded footage of the designers making their tape sculpture. It will be a loud, noisy performance. I used Pure Data to analyze the volume of sounds from a microphone and call up pre-numbered audio and video files.


In my work I wish to turn this phenomena into a public experience. It is my goal to produce the conditions, in a performance/screening setting for the audience to feel lost in the aesthetic space between micro and macro. I will use HD video images in micro and macro visions and unique techniques for recording motion. In the final work I will move rapidly between different image positions and search to bring and then hold the audience into a hyper-sensory experience.
[[/TAPE|Project description]]
<br clear="both"/>


I will take a minimal approach to sound, reminiscent of breath and focusing on silence to imply motion and change, remaining abstract.
== [[Hyun Ju Song]]: [[/Der Emotionsschalter/]] ==
[[File:Ms Beerstein Dokumentation.jpg|What's on friendly Ms.Beerstein's mind|thumb|250px]]
# Ziel des Projekts: Entwicklung interaktiver Interfaces zur Steuerung von Videos
# Entwicklung im Sommersemester
## Vier Demovideos aufnehmen und editieren
## Programmierung
### Steuerung der Videos (Max) 
### Aufbau des Arduinoboards mit Interfaces (Arduino)
### Steuerung der Videos durch die Interfaces (Arduino, Max)
## Produktion von zwei Interfaces (Bierglas, Fischspielzeug)
# Grundbegriff Der Emotionschalter. Man kann durch die Steuerung der Interfaces die Emotion bzw. den Ausdruck der Person auf vier Bildschirmen ändern. Vier Interfaces werden aufgebaut. Jedes Interface hat einen eigenen Emotionsausdruck: kreischen, schluchzen, lachen und schreien.


The imagery will be taken from very textured manufactured objects and from nature, outdoors and animals in very high resolution.
[[/Der Emotionsschalter|Project description]]
 
=== process ===
UPDATE: 20 June.2010
<flashmp3 id="Tape_sounds8.mp3">Tape_sounds8.mp3|parameter=value|...</flashmp3><br />
I have recorded the [http://www.foruse.info numen/foruse] team building up a large installation of plastic packing tape in the Tempelhof airport in Berlin, for the Design fair. I am now using this footage (very short clips) and the sound from them. I will create tape sounds myself in front of my computer microphone, with a projection behind. and a PD patch will relate the sounds made to the sounds in small video clips, creating visuals which jump between different clips of my recorded footage of the designers making their tape sculpture. It will be a loud, noisy performance. I used PureData to analyze the volume of sounds from a microphone and call up pre-numbered audio and video files.
 
[[Image:tape1.jpg|right|thumb|300px|Tape Pic 1]]<br />
<videoflash type=vimeo>12737337|300|230</videoflash><br /><br />
<videoflash type=vimeo>12737800|300|230</videoflash>
<gallery>
Image:kpd1.jpg
Image:kpd2.jpg
Image:Looking1screen.jpg|Still
</gallery>
<br clear="all" />
<br clear="all" />


''video documentation video on the way''
== [[Matthias Breuer]]: [[/Reconstructing the truth|Reconstructing the truth]]==
[[Image:Reconstructing the Truth.jpg|right|thumb|250px|Reconstructing the Truth]]
In modern times reality is a highly constructed body made up of many different ideas, desires and influences. The biggest reality producing machine, the media with all its different distribution channels, confronts us with a huge moving colourful mass made of countless pictures and sounds. The question about whether what we see is real or not is neither asked nor encouraged. The catchphrase of modernity is see it and believe it, a critical discourse is never held. While in ancient times, following Platon's ideas, reality to some is the dancing of shadows on a cave wall, for us it is the play of many differently coloured pixels on flat surfaces. Screens are our viewfinders to the wold. Our perception is created by artificial interfaces. The connection between reality and man is created by copper wires and silicium plates. A very fragile umbilical cord highly dependent on those who feed it thus holding the ultimate control.


=== progress ===
[[/Reconstructing the truth|Project description]]
On September 25th I will perform TAPE at TodaysArt festival in Den Haag. I will continue to develop the interface and AV materials until then.
<br clear="both"/>


== [[Andreas Beyer]]: Prosody==
== [[User:Maureenjolie|Maureen Anderson]]: [[/Ulysses|Ulysses: the Remake]]==
the keyword for this projekt is "prosody", that means the science about rhythm, stress and intonation of speech. I'll try to manipulate any given speech with a specific overlay to generate a new meaning or a strange combination of content and meaning e.g. reading the telephonbook like a holy speech and so on. The "overlayed" "structure" is given by the performer and the imput will be live. I want to realize this with a pd patch that i have to write or build till the semester. The background is a theorie that any kind of speech independent from the cultural background could be identified by anybody because of the intonation, the speech, the pitch (political, religious, news, sport, and so on) - this instrument could be used as a "translater" of the cultural melody of the voice or just to play with different meaning. It is the other way around how an anchorman works, he is trying to speak any typ of news in any combination more or less neutral - this is more difficult than it sounds.
[[File:maureen anderson ulysses versions.jpg|thumb|250px]]
''Ulysses: the Remake'' is a project in process utilizing speech-to-text software to experiment with the similarities between the lexicons of both James Joyce’s ''Ulysses'' and speech recognition software in order to make a new version of ''Ulysses''. As both are quite broad as well as concerned with and/or confined to their respective contemporaneous use of language, they both play like two parallel infinitesimal points in a vast though limited ocean.


== [[Anja Erdmann]]: ==
[[/Ulysses|Project description]]
- in this class i will get to work on "Schatten→Klang"
* [[GMU:Audio+Video/projekte/Schatten→Klang]]


== [[Dominique Wollniok]]: ==
<br clear="all" />
[[File:Dominique_Anschauung_gesamt.jpg|right|thumb|300px|Skizze]]


===Idee===
== [[Natercia Chang]]: [[/nicht blind, mute und deaf/]] ==
In einem Raum kann man durch Bewegung Geräusche auslösen.
[[File:cover page.jpg|thumb|250px]]
Von einem Bild ausgehend, liegen die Geräusche in verschiedenen Ebenen.
After doing some trial tests on the two ideas I came up for the project, I decided to eleborate the second idea I presented, which is about VO dubbing.  The title of the work represents the difference in the visual content and audio content.
Durch mehrere Lautsprecher entsteht eine räumliche Klanglandschaft.
Der Besucher erfühlt die akustische Umwelt und kann sie durch seine Bewegungen beeinflussen.


===Ziel===
It is based on my personal experience in Weimar. I came here without any knowledge of German, it was very hard and frustrating in the beginning; to communicate, to understand and to be understood. I am trying to express an imagery on one's mind (it is my mind that is presented). If things that cannot be comprehended from what one is viewing, the mind would process something intelligible from memory according to one's preference. The project aims to portray the mind as a platform where tempo and spatial can be altered, as well as its ability to separate images and sound, thus creating a new scene of images.
Ziel ist es eine akustische Topographie einer Landschaft auf ein sich im Raum befindliches Raster zu übertragen.  
Der Körper des Besuchers ist Auslöser der Geräusche.
Inhalt ist das Zusammenspiel von akustischem Raum und dem Körper darin.
Durch Reproduktion der Klanglandschaft in detailreiche Einzelgeräusche erlebt man eine Landschaft anders.
Es entsteht ein anderer, interaktiver Zugang zur Landschaft.


===Ton===
The project is visualized in a three-channel video installation, capturing the random things happened around me in Weimar. The installation is not exhibited in public yet.
Die Soundscape besteht aus der gesamten Geräusche-Umwelt und ihre Einzelheiten.
Die Einzelgeräusche sollen so konstruiert werden, dass sie im Kontext zur gesamten Soundscape bestehen bleiben.
Die Ton-Ausgabe geschieht über eine 5.1 Anlage.  


===Tracking===
[[/nicht blind, mute und deaf|Project Documentation]]
Ausgehend von einem nicht sichtbaren Raster auf dem Boden, werden bestimmte Sounds ausgelöst.
<br clear="all" />
Ist man weit vom Bild entfernt, nimmt man die Soundscape als Gesamtes wahr.
Je näher man an das Bild herantritt, desto mehr bekommt man den räumlichen Eindruck vom Bild. Man geht sozusagen in das Bild hinein. 
Einzelne Geräusche werden durch entsprechende Positionen ausgelöst.
Das geschieht über ein Tracking in x-y-Ausrichtung.
Außerdem soll die Geschwindigkeit getrackt werden. Je langsamer eine Bewegung geschieht, desto länger soll der Übergang von einem Geräusch ins andere sein.


<gallery>
File:Dominique_Anschauung_gesamt-mit-lautsprechern.jpg
File:Dominique_Anschauung_gesamt-mit-lautsprechern2.jpg
</gallery>


===Anstehende Tests:===
== [[Anja Erdmann]]: ==
* Geräusch-Selektion einer Soundscape
- in this class i will get to work on "Schatten→Klang"
* Lautsprecher-Aufstellung
* [[GMU:Audio+Video/projekte/Schatten→Klang]]
* Foto oder Video der Ausgangslandschaft
<br clear="all" />
* Rasterform (Drei- oder Viereck) für Tracking
 
== [[Hyun Ju Song]]: DER EMOTIONSSCHALTERr ==
#  UMRISS <br>1. Ziel des Projekts<br>
<br>Entwicklung interaktiver Interfaces zur Steuerung von Videos <br>
<br>
<br>2. Entwicklung im Sommersemester <br>
<br>a. Vier Demovideos aufnehmen und editieren <br>
<br>b. Programmierung <br>
<br>• Steuerung der Videos (Max)  <br>
<br>• Aufbau des Arduinoboards mit Interfaces (Arduino) <br>
<br>• Steuerung der Videos durch die Interfaces (Arduino, Max) <br>
<br>c. Produktion von zwei Interfaces (Bierglas, Fischspielzeug) <br>
<br>
<br>3. Grundbegriff <br>
<br>Der Emotionschalter. Man kann durch die Steuerung der Interfaces die Emotion bzw. 
den Ausdruck der Person auf vier Bildschirmen ändern. <br>
<br>
Vier Interfaces werden aufgebaut. Jedes Interface hat einen eigenen
Emotionsausdruck: kreischen, schluchzen, lachen und schreien. <br>
<br>
 
 
#PROZESSTABELLE DER ARBEIT
<gallery>
File:Rhkwjd-shj.png‎
</gallery>
<br>
#ERGEBNIS
<br>1. Demovideos aufnehmen und schneiden <br>
<br>a. kreischen<br>
<gallery>File:1-dntek-shj.jpg</gallery>
<br>b. schluchzen <br>
<gallery>File:2-dnfek-shj.jpg</gallery>
<br>c. lachen<br>
<gallery>File:3-wmfrjqek-shj.jpg</gallery>
<br>d. schreien <br>
<gallery>File:4-ghksoek-shj.jpg.jpg</gallery>
<br>
<br>2. Programmierung <br>
<br>
<br>a. Steuerung der Videos (Max)  <br>
<gallery>File:01_joy.png|patcher 01_joy  </gallery>
<gallery>File:02_sorrow.png|patcher 02_sorrow  </gallery>
<gallery>File:03_pleasure.png|patcher 03_pleasure  </gallery>
<gallery>File:04_anger.png|patcher 04_anger  </gallery>
<gallery>File:Test_4videos.png </gallery>
<br>b. Aufbau des Arduinoboards mit Interfaces (Arduino)  <br>
<gallery>File:Dkebdlsh-shj.png  </gallery>
<br>c. Steuerung der Videos durch Interfaces (Arduino, Max)<br>
<gallery>File:04_Arduino2Max.4videos.png  </gallery>
<br>
<br>3. Interface Produktion <br>
<br>a. Fischspielzeuginterface mit Piezo <br>
<gallery>File:Anfrhrl-shj.png  </gallery>
<br>b. Bierglasinterface mit dem Fotosensor <br>
<gallery>File:Aorwnzjq-shj.jpg  </gallery>
<br>
 
#EVALUATION UND ERWEITERTE AUFGABE <br>
<br>1. Evaluation <br>
<br>Es besteht die Schwierigkeit, dass man die Interfaces als Emotionsschalter
versteht. Die Interfaces produzieren selbst eine andere Bedeutungen. <br>
<br>
<br>2. Alternativer Plan <br>
<br>Die andere Perspektive für die Emotion bzw. den Ausdruck der Person<br> 
<br>a. Vorhandene Perspektive : Der Emotionsschalter<br>
Mit dem Emotionschalter habe ich versucht die Emotion bzw. den Ausdruck
der Person im Video zu steuern. <br>
<br>b. Alternative Perspektive : Die Unsicherheit
Jeder Mensch reagiert unterschiedlich auf die selbe Situation. Der selbe
Mensch reagiert sogar jederzeit unterschiedlich auf die selbe Situation.
Gibt es die eine angemessene oder die beste Reaktion auf eine Situation? 
Die verschiedenen Emotionen bzw. Ausdruecke der Person werden auf dem
Bildschirm gezeigt, immer wenn das Interface (Fischspielzeuginterface mit
Piezo) betaetigt wird (Emotion wird ausgeloest bzw. angeregt). Die Anregung
durch das Interface ist weder schlecht noch gut, sondern neutral. Man kann
die Emotionen bzw. Ausdruecke der Person auf dem Bildschirm nicht
vorhersehen, sie werden zufaellig ausgewaehlt. <br>
<br>c. Die Änderung des alternativen Plans <br>
<br>• Interface <br>
<br>Man kann durch die Steuerung des Interfaces die Emotion bzw. den
Ausdruck der Person auf dem Bildschirm nicht ein- und ausschalten.
Das Interface dient nun als Ausloeser fuer eine Anregung, um eine
unerwartete Emotion der Person auf dem Bildschirm entstehen zu
lassen. <br>
<br>• Video <br>
<br>Eine Person auf einem Bildschirm zeigt vielfältige Emotionen. Durch
ein und die selbe Situation bzw. die selbe Anregung werden viele
verschiedenen Zustaende bei der Person im Video hervorgerufen.
Damit will ich die Unsicherheit, Widerspruch, Verwirrung und Skepsis
des Menschens zeigen. <br>
<br>d. Das intendierende Ergebnis des alternativen Plans
Die Emotion des Menschens besteht nicht aus der Sicherheit bzw. 0 und 1
wie Ein- und Ausschalten, sondern aus der Unsicherheit, da der Mensch
viele verschiedene, eigene Geschichten hat. Mit der neuen Arbeit wird
gezeigt, dass die Emotion des Menschens unvorhersehbar ist. <br>


== [[Jeffers Egan]]: ==
== [[Jeffers Egan]]: ==
Line 184: Line 65:


I will also create new artwork specifically for this performance.
I will also create new artwork specifically for this performance.
<br clear="all" />


== [[Matthias Breuer]]: [[/Reconstructing the truth|Reconstructing the truth]]==
== [[Andreas Beyer]]: Prosody==
Two movies dealing about the question of what is real, [http://www.imdb.com/title/tt0133093/ 'The Matrix'] (1999) by the Wachowski brothers and [http://www.imdb.com/title/tt0070904/ 'World on Wires'] (1973, orig. title 'Welt am Draht') by Rainer Werner Fassbinder, are left to the electronic brain of a computer to construct, with its countless circuits instructed by a programmer, a reality partly constructed partly real is build to explore reality and its constructed nature. The outcome is a formal critique of (mass-)media's reality.
the keyword for this projekt is “prosody”, that means the science about rhythm, stress and intonation of speech. I'll try to manipulate any given speech with a specific overlay to generate a new meaning or a strange combination of content and meaning e.g. reading the telephonbook like a holy speech and so on. The "overlayed" "structure" is given by the performer and the imput will be live. I want to realize this with a pd patch that i have to write or build till the semester. The background is a theorie that any kind of speech independent from the cultural background could be identified by anybody because of the intonation, the speech, the pitch (political, religious, news, sport, and so on) - this instrument could be used as a "translater" of the cultural melody of the voice or just to play with different meaning. It is the other way around how an anchorman works, he is trying to speak any typ of news in any combination more or less neutral - this is more difficult than it sounds.
 
<br clear="all" />
[[GMU:Breaking the Timeline/projects/Reconstructing the truth|Project description]]
 
== [[Maureen Anderson]]: [[/Ulysses/]]==
 
 
 
'''Ulysses: the Remake'''
 
''Ulysses: the Remake'' is a project in process utilizing speech-to-text software to experiment with the similarities between the lexicons of both James Joyce’s ''Ulysses'' and speech recognition software in order to make a new version of ''Ulysses''. As both are quite broad as well as concerned with and/or confined to their respective contemporaneous use of language, they both play like two parallel infinitesimal points in a vast though limited ocean. 
 
The chapter where the the two main characters, Stephen Dedalus and Leopold Bloom, in a drunken state, finally meet, is a poor transcription of a conversation with a friend I hadn’t seen in a while over a couple of beers. The last chapter, Molly’s Soliloquy, roughly sixty pages of a woman’s contemplations on men, sex and marriage without a single punctuation mark, is a transcription of a computerized female voice reciting a text-to-speech file of the chapter. 
 
Currently, I am in the process of adding footnotes explaining words, terms, expressions, proper names, abbreviations, etc., not yet introduced into the English lexicon at the point in which Ulysses takes place, which the software transcribed incorrectly.
 
Example:
 
[[File:Ulysses_sample_maureen_anderson.jpg]]
 
== [[Natercia Chang]]: [[/Mutually Intelligible/]] ==
===Background===
# I remember the first few meetings and classes when I got here last semester, they were all in German.  And without any knowledge in the German language, it sounded like noises to me and I started making up the content when they talked.  The initial idea that I came up was to film some of the lectures and edit subtiles on the images, which would be totally unrelated to the acutal content that they were discussing.
# I have been attending lectures and workshops that are held almost entirely in German. To me, sitting in a classroom for more than 6 hours and listening to something not comprehensible at all is kind of a torture. Similarily, I am also interested to find out how would a person feels when he/she is forced to listen to something not in his/her first language.
# The expereince of watching movies here in Germany is pretty hard because most of the movies, they are synchronised with German language instead of screening the original audio version.
===Concept===
# Select a (or some) German movies and extract some of the scenes and/or shots without the audio
# Select a collection of foreign movies and extract the audio (dialogue) from some of the scenes and/or shots
# Synchronise the extracted images and audio and export it as a short video
# Create a booth that contains monitor and keyboard buttons that one can select languages (no German available) for viewing the video.
(I do not know the technical parts to build a booth with sensory buttons...)

Latest revision as of 21:54, 25 May 2011

Projects from the course Breaking the Timeline, a Fachmodul by Max Neupert, Gestaltung medialer Umgebungen Summer Semester 2010:

Kyd Campbell: TAPE

TAPE

I have recorded the numen/foruse team building up a large installation of plastic packing tape in the Tempelhof airport in Berlin, for the Design fair. I am now using this footage (very short clips) and the sound from them. I will create tape sounds myself in front of my computer microphone, with a projection behind. and a Pd patch will relate the sounds made to the sounds in small video clips, creating visuals which jump between different clips of my recorded footage of the designers making their tape sculpture. It will be a loud, noisy performance. I used Pure Data to analyze the volume of sounds from a microphone and call up pre-numbered audio and video files.

Project description

Hyun Ju Song: Der Emotionsschalter

What's on friendly Ms.Beerstein's mind
  1. Ziel des Projekts: Entwicklung interaktiver Interfaces zur Steuerung von Videos
  2. Entwicklung im Sommersemester
    1. Vier Demovideos aufnehmen und editieren
    2. Programmierung
      1. Steuerung der Videos (Max)
      2. Aufbau des Arduinoboards mit Interfaces (Arduino)
      3. Steuerung der Videos durch die Interfaces (Arduino, Max)
    3. Produktion von zwei Interfaces (Bierglas, Fischspielzeug)
  3. Grundbegriff Der Emotionschalter. Man kann durch die Steuerung der Interfaces die Emotion bzw. den Ausdruck der Person auf vier Bildschirmen ändern. Vier Interfaces werden aufgebaut. Jedes Interface hat einen eigenen Emotionsausdruck: kreischen, schluchzen, lachen und schreien.

Project description

Matthias Breuer: Reconstructing the truth

Reconstructing the Truth

In modern times reality is a highly constructed body made up of many different ideas, desires and influences. The biggest reality producing machine, the media with all its different distribution channels, confronts us with a huge moving colourful mass made of countless pictures and sounds. The question about whether what we see is real or not is neither asked nor encouraged. The catchphrase of modernity is see it and believe it, a critical discourse is never held. While in ancient times, following Platon's ideas, reality to some is the dancing of shadows on a cave wall, for us it is the play of many differently coloured pixels on flat surfaces. Screens are our viewfinders to the wold. Our perception is created by artificial interfaces. The connection between reality and man is created by copper wires and silicium plates. A very fragile umbilical cord highly dependent on those who feed it thus holding the ultimate control.

Project description

Maureen Anderson: Ulysses: the Remake

Maureen anderson ulysses versions.jpg

Ulysses: the Remake is a project in process utilizing speech-to-text software to experiment with the similarities between the lexicons of both James Joyce’s Ulysses and speech recognition software in order to make a new version of Ulysses. As both are quite broad as well as concerned with and/or confined to their respective contemporaneous use of language, they both play like two parallel infinitesimal points in a vast though limited ocean.

Project description


Natercia Chang: nicht blind, mute und deaf

Cover page.jpg

After doing some trial tests on the two ideas I came up for the project, I decided to eleborate the second idea I presented, which is about VO dubbing. The title of the work represents the difference in the visual content and audio content.

It is based on my personal experience in Weimar. I came here without any knowledge of German, it was very hard and frustrating in the beginning; to communicate, to understand and to be understood. I am trying to express an imagery on one's mind (it is my mind that is presented). If things that cannot be comprehended from what one is viewing, the mind would process something intelligible from memory according to one's preference. The project aims to portray the mind as a platform where tempo and spatial can be altered, as well as its ability to separate images and sound, thus creating a new scene of images.

The project is visualized in a three-channel video installation, capturing the random things happened around me in Weimar. The installation is not exhibited in public yet.

Project Documentation


Anja Erdmann:

- in this class i will get to work on "Schatten→Klang"


Jeffers Egan:

Theory

Viewing Live AV as a platform for experimentation, my live sets explore the inscription of visual culture in time. By utilizing custom algorithms and animation software and without the use of prerecorded video or still footage, these works result in a hyperreal fluidity of visual mutations, ranging from tightly synchronized passages, to moments of free improvisation. Developing the concepts of digital as organism and software as ecosystem, my sets create a focused, personal aesthetic, finding commonalities in tone, texture and movement between audio and visual elements.

Practice

I have been invited to perform Live Visuals with vidderna, at ROJO/NOVA, a multimedia event this July in São Paulo, Brazil. We will play a 1 hour show together at an event alongside other AV acts.

Technically I am building a visual instrument in Touch Designer, . For the performance with vidderna, I plan to add a HD multi-movie stream compositing system(with alpha), a 3D timeline, and build/consolidate some GLSL shaders into 2D filters I can use in the compositing system.

I will also create new artwork specifically for this performance.

Andreas Beyer: Prosody

the keyword for this projekt is “prosody”, that means the science about rhythm, stress and intonation of speech. I'll try to manipulate any given speech with a specific overlay to generate a new meaning or a strange combination of content and meaning e.g. reading the telephonbook like a holy speech and so on. The "overlayed" "structure" is given by the performer and the imput will be live. I want to realize this with a pd patch that i have to write or build till the semester. The background is a theorie that any kind of speech independent from the cultural background could be identified by anybody because of the intonation, the speech, the pitch (political, religious, news, sport, and so on) - this instrument could be used as a "translater" of the cultural melody of the voice or just to play with different meaning. It is the other way around how an anchorman works, he is trying to speak any typ of news in any combination more or less neutral - this is more difficult than it sounds.