• Ulla Rauter: Fingertip Vocoder (2013)
Performance Photo

    Ulla Rauter: Fingertip Vocoder (2013) Performance Photo

    Ulla Rauter

    Fingertip Vocoder | 2013

    The FINGERTIP VOCODER as a performance-instrument allows the tactile control of the natural voice and its artificial extensions. 
    Brazen Fingertiprings act as expansion of the body and are used for the modification of the voice – the touch of each finger with the thumb transposes the own voice and overlay it with certain intervals. 
    The performance, an improvised choir piece for one person, becomes a tactile voice-experiment due to the haptic and acoustic alienation of the body and the voice.

    Technics:
    The fingertiprings act as switches, which cause a specially programmed vocoder-function on the computer. Each finger is connected to such a switch, generating a certain interval which overlays the original track in realtime.

    Primary sensory cross-modalities: TOUCH, AUDIO, KINAESTHETICS

     


  • Ulla Rauter: Lichtklavier, 2012
Photo: Galerie Mauroner

    Ulla Rauter: Lichtklavier, 2012 Photo: Galerie Mauroner

    Ulla Rauter

    Lichtklavier | 2012

    ‘Light Piano’

    Primary sensory cross-modalities: TOUCH, VISION, AUDIO, KINAESTHETICS


  • Foto: Birgit & Peter Kainz

    Foto: Birgit & Peter Kainz

    Ulla Rauter

    Sound Calligraphy | 2016

    The project consists of calligraphic handwriting containing the spectral sound information of spoken words, which can be made audible by techniques of sonification. During a live performance, I draw calligraphic handwriting which is transformed into sound by means of a special scanner (camera and computer-software). These calligraphies and a video about their genesis are displayed in the exhibition.
    My interest lies in the fact that the combination of manual drawing and digital technology is able to create an artificial voice and the perception of speech. Apart from the poetic performative aspect of drawing voices, human speech and its perception are part of the focus of my interest. My drawings are in fact only layers of frequencies that imitate a human voice. It is not much more than noise and a cluster of sine waves, and it is artificial. But at a certain point in time, we can start to recognize words, maybe a sentence; we start to hear human speech. Due to the constructive behavior of the brain, we search for meaningful messages within the noise that we hear.
    (Text: Ulla Rauter)

    Commissioned by DIGITAL SYNESTHESIA

    Primary cross-sensory modalities: VISION, AUDIO, KINESTHETICS