This project is to research TMLesque
technologies, develop and build modular microcontroller platform for wireless
multiplayer audio and data sensing/processing embedded in wearable, portable,
architectural and/or kinetic contraptions. With speaker-independant speech
recognition and sound synthesis,recording, looping and layering, multiple
users can interact in the same physical space or in different spaces.
Chaku aims to create audio-haptic gaming applications experienced in any
physical space in time, mediated or in situ.
People and
Roles
Dr. Xin Wei
Research direction
Hugo Desmeules
Research & electronics
David
Firmware Programming
Shermine
Shape Design, 3D
TML actives
Active feedback
For
questions and feedbcak email me at:
Audio
videogames vs audiogames
Just like in the cinema industry where
most of the people work for the visuals and few for the audio, the videogaming
industry becomes bigger than Hollywood, we are occasionaly exposed to a gameplay
revolving around audio (Parappa the rapper, Guitar Hero, Taiko drum master,
Donkey Konga, Rev, Harmonix Frequency, Mad Maestro, Electroplankton), also
to somewhat limited tactile games (Nintendogs) and movement-based games (Dance
Dance revolution).While such toys usually offer an experience based on rhythm
or pattern with a certain replay value, the potential for greater musicality
is often intentionnally reduced for bigger audience prospect while they sought
to develop interesting ways of interacting with sounds and custom controllers,
it is often limited in finesse by a low resolution controller and still mostly
rely on visual cues to let the player know when to do certain actions. Event-based
gaming has a relatively long curriculum, while a continuous topological gaming
model is currently explored. Another layer of processing like feature extraction
adds access to speech recognition, altough event-based, is an extra in an
already potentially rich experience.
Chaku aims to create audio-haptic gaming
applications experienced in any physical space in time, mediated or in situ.
Most videogames isolates the players to rooms only and block most of their
potential surrounding environments from being discovered. The auditory and
tactile channels are very powerfully linked and potentially as stimulating
in a gaming environment as the visual channel, and may use real world spaces
in new contexts. With ad-hoc wireless sensor networks being developped, the
potential for context-aware gaming is blooming.
Creative musical tools can be overwhelming
or hard-to-use for non-musicians. We are aiming for a middle ground by making
audio games that are fun enough for everybody to play with, wether based on
basic rules (or even no rules at all), offering simple goals (and maybe harder
goals as well)...and have a potential of exploration that will keep the players
interested in deviating from the basic goals, to create new ways for non-musicians
and musicians alike to experience the unique joy that comes from gathering
and playing with animated sounds.
Sketch ideas
On its own, Chaku listens for voice commands
until it recognizes one, this command could tell it to record ambiant sounds,
store a quick beatbox and loop it, layer samples and sequence them, sense
environmental parameters and tell its opinion (ex: "It'd getting hot in here!"
based on its temperature sensor), say random phrases to encourage interaction
(ex:"Chaku ?"), but while their vocal interactions can be based on language,
they can also be based strictly on sounds that are not part of any language
like the Wowee Homosapien robots that speak international cavemen.
With
multiple Chaku modules in the same room, they start to communicate
wirelessly (a blue LED lights up when they recognize each other) and
exchange sounds, multiplayer sound games can be played, they can share
playroles, while one listens for commands, one records and another is
cheering its user. Or Chaku's could become angry when they're not fed
certain sounds so they start yelling to fill the acoustic space.
Connect one to a computer and it will link
it and all other chakus to the processing power of the computer and the networking
abilities of the internet. Sounds can be transformed in real-time, can generate
video effects in real-time, etc. The net can connect 2 or more chakus in different
cities so they can share sounds and play games.
Each
Chaku interacts with its environment and users, it interacts with other Chaku
devices wirelessly with or without the intermediary computer box, depending
on the depth on computing power needed (for example video processing). We
can see uses for Chaku in multiple experiments for multiple applications such
as mobile music, theatre, storytelling, art installation, architecture, mobile
and wearable computing.
High Level Design
Network
Topologies
Different
gameplays emerge depending on the network topology used. (NTU)
Experiment ideas for audio games
Chaku Pichu (Hide and Seek)
NTU: Star
3 or more people are blindfolded and wear a chaku on their hand, 1 seeker
and 2 hiders.Depending on where they are, they hear a radar-like sound informing
them of how close is the seeker and vice-versa. When the seeker has found
a hider, the chakus inform their wearer by voice that the roles have changed.
variant: when the seeker says "Marco", the other chakus respond "Polo" (or
"Chaku" "Pichu"). Variant: Everybody seeks someonelse.
No-rule variant: no explanation is required as the people's behavior is
tested with an augmented sense of proximity through audio. Interaction scenarios
based on war, submarine missile, radar, etc.
technology used: sound synthesis,
problem: How to sense proximity in "medium" distances?
Augmented Storytelling / Theatre / SpellCasting
NTU: Mesh
A
storyteller or multiple orators wear a device that does voice
recognition and wirelessly sends commands to a computer that augments
audio-visually the space. Based on certain state or action trigger
words, the speaker
Ball Throwing
NTU: Mesh
Sound
synthesis based on accelerometer sensor inside the balls. Hoops of
different shapes and sizes installed around a room provide an intuitive
interaction for the player/performer. The room is augmented with
spatially mapped multichannel sound. Can be multiplayer.
NotnotPuppets?
NTU: Mesh Objects (either everyday normal objects or custom funky designs)
interact .The more the merrier. They record snippets of sounds when they
feel like it and occasionally leak their memory into the soundscape.
Guardian
NTU: Solo or Mesh
Chaku is embedded in a door or a chest. Chaku asks multiple users
different questions such as "What is your name? What is your favorite
color?" After some questions, it listens for the answers and determines
if the user has access.
Forbidden words game
Some words are forbidden (ex: yes, no) People ask normal questions to trick
others into saying these words, when it happens, Chaku lights red leds,
vibrates and emits a noisy sound.
Audio Trivia / Complete the quote
Chaku plays a musical sample of varying lenght then fades out. When a player
says the right answer, Chaku lights with blue and emits a happy harp sound.
Variant: Chaku plays a popular quote but omits a part of it. The player
has to complete the sentence.When a player says the right answer, Chaku
lights with blue and emits a happy harp sound.
Stranger circle (Spin the Chaku)
NTU: Solo or Star and/or Ring
Strangers gather in a space around a Chaku, we spin the chaku, when
it stops pointing a person, it designates this person a color and a sound,
this person has to interpret this and improvise. then we spin it again...
Or it designates multiple people, attributes them each a color and speaks
instructions to improvise...
Patate chaude (hot potato)
People ...
Téléphone
NTU: Ring or line
a person whispers any word or sentence in a Chaku , then passes it to the
next person who puts Chaku to his ear to listen to the previous person's
message. He then whispers what he thinks he has heard. and it goes again
until the last player who says out loud what he heard. The message is almost
inevitably altered in weird or funny ways.
Experiment ideas for musical instruments
Audio Jam
NTU: fully connected
Each Chaku can record snippets of sounds from the microphone, then either
trigger the sound, loop it or send it wirelessly to another Chaku. Master
tempo is automatically synced, but individual chakus can choose to play
at a fraction or a multiple of the tempo speed.
technology used: sound synthesis, sound record and playback, looping, transceiver
Chordlink
Chordlink is a wearable gestural synthesizer that I built in 2005 ( http://www.11h11.com/hugobox/chordlink/Chordlink.html
). It relied on 30 year old synthesis chips that are no longer
manufactured and could highly benefit a new synthesis chip like the VR
stamp.
Asubio
An electronic ocarina in development.The design was based on Chordlink,
but the main synthesis engine is being replaced with a PIC, for lower cost
and better availability. The body is being designed with the rapid prototyping
machine.
Other Experiment
Ideas
AbstractPaintingUnit (APU)
Giving a voice to APU will make him closer
to being a real misunderstood artist. New interactions are possible with
its audience such as critiques and praises. The VR Stamp could be implemented
here as a co-processor. Calling "APU" triggers the conversation mode where
APU asks questions (ex:Do you like my painting so far?),listens to your
answers and either agrees with you and accordingly change elements to the
composition (color, pattern,..) or diagrees and also changes elements but
disaccordingly.
Project
Requirements
The
project will mainly be programmed in the Sensor Lab, fabricated in sensor
lab and rapid prototyping lab, and tested in the TML space. The
PCB's might be made at the Intaglio space.
- Software
The software required to program the VR Stamp is included on a cd bundled
with the VR Stamp Toolkit.
The included C compilerby Phyton is limited in
time of use. It works with a protection USB dongle during 12 weeks
only.We could test an open-source one to see if it can replace the one included.
The upgrade license may be purchased for 600$ from Phyton. So we better plan
to have lots of code ready to test before installing the compiler.
n.b. the assembly and C code examples are properly commented.
Recent Problems:
The C compiler has been reporting weird errors on compile, like syntax errors
on untouched libraries. UPDATE: errors fixed.
Also the QT2SI which was working great, started to crash on startup, reinstalling
did not work.UPDATE: fixed, the problem was a conflict with the microphone
on a USB camera.
This program can be used to create new instruments or edit existing instruments
for the RSC4X Music Player.
FINDNOTE V2.1
Creates .txt file with lists of instruments and notes used by a song
(v2.1) Correctly reads converted midi files (.mca) that were created using -v option
(verbose).
HEX2BIN V1.2
This utility converts an Intel .HEX file to a binary file. The binary file must be
1MByte or less. Version 1.2 pads output to next 256 byte boundary.
hex2bin <input.hex> <output .bin>
HEXSPLIT V1.0
A utility that converts an input .hex file for a project that is larger than 128KB
(up to 1MB). There are two output files. The first output file is a .hex file
for code space (0000H-1FFFFH). The second output file is a .hex file for data above
or equal to address 20000H. This data is relocated to zero in the second output .hex
file. This second file can be used to program an external parallel or serial memory
for use by SX speech with an appropriate memory handler added to SX_H.MCA.
hexsplit <input .hex> <output code .hex> <output data .hex>
MAKEINST V1.4
Tool to build instrument database for RSC4 Music.
(v1.4) For tech release 7.5.0 or later. Moved variable pitch samples
from bank 0 of code space to bank 1 of const space. Existing
projects need to be rebuilt.
(v1.3) Added .LNKCMD to output .mca files to force certain tables into
bank 0 of code space.
(v1.2) Fixed bug related to input files without CR+LF after last line.
MID2MCA V1.02
Converts MIDI files to RSC4 Music format.
(v1.02) if more than one note-on event happens for the same note and same channel
without an intervening note-off, delete the extra note-on event(s).
RSC4LOAD V2.02
Tool to load the flash memory on an RSC4 development board
(v2.02) Changed stop bits from 2 to 1
(v2.01) Default baud rate is 57600
(v2.00) Added -h option to specify hex (default is binary unless file extension is
.hex). Added support for VR Stamp
(v1.04) Added -d option to download to Flash Data Memory on Demo/Eval Board
rsc4load [<options>] <filename>
WAV2MCA V1.1
Converts a standard 16-bit Mono .wav file into a .mca (assembly language source)
file for use by voice-over voices.
(v1.1) Added -i option to ignore <smpl> chunk and use entire file as a loop.
UpdatePhytonPaths.exe
This utility program searchs a directory or directory tree for files with extensions
.IDE, .CFL, .CFA and .CFC. Within those files, it searches for paths pointing to
Phyton tools and updates them to a different Phyton path.
The software required to program the Atmel AVR micro-controller is either
the open-source AVRdude or WinAVR
(AVR GCC).
Max/MSP/Jitter patches composed by fellow TML people to enhance the Chaku
experience, by enhancing the audio, adding video and communicating over long
distances with Open Sound Control (osc)
Audio Streaming
We should also try the GNU GPL-licensed NINJAM
server application while chakus stream over the NINJAM client software.
"Since the inherent latency of the Internet prevents true realtime synchronization
of the jam, and playing with latency is weird (and often uncomfortable),
NINJAM provides a solution by making latency (and the weirdness) much longer.Latency
in NINJAM is measured in measures, and that's what makes it interesting."
The NINJAM client records and streams synchronized intervals of music between
participants. Just as the interval finishes recording, it begins playing on
everyone else's client. So when you play through an interval, you're playing
along with the previous interval of everybody else, and they're playing along
with your previous interval. If this sounds pretty bizarre, it sort of is,
until you get used to it, then it becomes pretty natural. In many ways, it
can be more forgiving than a normal jam, because mistakes propagate differently.
Part tool, part toy, NINJAM is designed with an emphasis on musical experimentation
and expression.
NINJAM Server:
The main requirement for running the server is outbound bandwidth. For example,
a 4 person jam needs approximately 768kbps of outbound (and only 240kbps inbound)
bandwidth, and a 8 person jam requires approximately 3mbps of outbound (and
600kbps inbound) bandwidth. We are planning on updating the architecture to
support a more distributed model, but this is just an alpha release.
NINJAM Client:
The NINJAM client requires a fair amount of CPU power, a moderate amount of
inbound bandwidth (192kbps for a typical 4 person jam, 512kbps for an 8 person
jam) and less outbound bandwidth (100kbps typical).
Hardware
Component Selection and Schematic Design
Every
component has been chosen to be powered by a 3 Volt source for
compatibility and portability.I2C components have been selected instead
of SPI because: I2C's lower speed and more complex protocol put it at a
disadvantage in single master-single slave applications. Its weakness
turns into strength if a larger number of slave devices needs to be
connected or a multi-master system is needed. Since we most probably
will use multiple peripheral devices and that pin count is limited, I2C
is, I think, the logical choice.Communication between the chips can be either I2C or SPI.
I2C is slower (up to 400kbps in Fast mode) than SPI (half-duplex vs
full-duplex)but takes less pins (12c takes 2 wires, SPI takes
(3+n)-wire serial busses. (n= # of slaves)..
Master microcontroller:
AVR (Butterfly for testing) or PIC
Since
the VR Stamp can hardly handle all the sensor data, communicate in I2C
wit all peripherals and handle all audio related features at the same
time, it felt like a good thing to put a popular microcontroller in
control.
AVR
Butterfly is an evaluation tool demonstrating the capabilities of the
latest AVR Technology. The tool is shipped with preloaded firmware
supporting temperature sensing, light measurement, voltage readings and
music playback. AVR Butterfly can also be used as a nametag.
AVR
Butterfly can be reprogrammed from AVR Studio using just a serial
cable. This allows the tool to be used as a development kit for the
onboard ATmega169, or even as target hardware for simple applications.
The bootloader source code is available as application note AVR109.
Power: if using external power 3.1-4.5V or 3.0 volts Battery Model CR2450 (550mAh)
# Single Chip RF transceiver + MCU + ADC
# nRF2401 2.4GHz RF transceiver
# 8051 compatible microcontroller
# 9 input 10 bit ADC 100Kspls/s
# "Green" lead free alternative
# Internal voltage regulators
# Ultra low current drain standby and operation
# Internal VDD monitoring
# Supplied in 36 pin QFN (6x6mm) package
# Mask programmable version available
# Very few external components
# Ease of design
# Data rate 0 to1Mbps
# Multi Channel operation 125 channels
# Support frequency hopping
# Channel switching time <200us.
# Power supply range: 1.9 to 3.6 V
# Address and CRC computation
# Shock Burst(tm) mode for ultra-low power operation
# 0 dBm output power
# 100% RF tested
# Complements the nRF2401 transceive
Sensory VR Stamp
The VR Stamp is a good co-processor for Chaku, acting as the sound card of the project.
120v Power Supply, Speaker,
USB cable and everything needed to get started
Quick
T2SI Lite (Text-to-Speaker-Independant speech recognition set tool) is
an abbreviated version of the full one. Quick T2SI offers you a limited
number of builds (20) and with a limited # of commands per
build. Further, it is only good for a 6 month period of time.
Keep in mind, to build a successful command set, it works best to narrow it
down to as few commands as possible, and ensure that they do not sound similar
to each other to prevent undesired responses. Quick T2SI comes with the VR
Stamp development kit, but to upgrade to the full version, the cost
is $1,000. (should be possible to get university discounts) We might
not need this software.
TAOS color sensor (possible application: the user waves the device over a
paper interface that has different colors on it and it changes parameters.
Users can also make their own paper inrterfaces and/or use the environment's
colors as the interface) The range of detection is pretty limited tough.
Hook a fishfinder sonar to the ceiling of the black box space
10 or 12 bit multichannel ADC or singlechannel with multiplexer
(if MCU doesn't feature any)
minimum 10-bits resolution
minimum 4 channels
I2c compatible would be good, otherwise serial
Op. voltage: 2.7 to 3.3 volts (3Volts)
I have two MAX186 8 channel 12 bit ADC (untested and not I2C compatible but
serial)(datasheet)
Maxim IC tech support recommends MAX1361, 1137 and 113 (all 10 bits 4 channels
I2C compatible)
-OUTPUT
LEDs, motors, actuators, etc.
(find the chip that synchronizes LED's to music)
Touch Screen (optional)
Simmetry CS-2B Graphic Display module
(Blue and white) with touch screen (pdf)
(but it runs on 5volts)
-MEMORY
Sensory supports one type of serial flash,
the SPI interface AT45DB041B, and one type of serial EEPROM, the I2C
interface 24C128. Other sizes of serial EEPROM are also supported, from 1
Kbit up to 256 Kbit.
But no serial EEPROM, regardless how big, can work with RPMEMO. The write
time for a serial EEPROM is too slow. Only the serial flash can work with
RPMEMO.
If you want to use the AT45DB041B, then you should hook it up like this:
VR Stamp Pin AT45DB041B Pin
P03 -CS
P04 SCK
P05 SI
P06 SO
-RST -RST
Then, in the RPMEMO project window, make sure that 'serfmsglib.mcl' or
'serfmsgxlib.mcl' is selected as the memory driver. You may need to remove
the 'spflib.mcl' memory driver.
Winbond's ChipCorder® is a complete, single chip solution
for voice and audio recording and playback. It is designed to offer the highest
quality single-chip voice record/playback solutions for embedded applications.
Non-volatile and highly integrated, they are ideal solutions for adding voice
prompts, alerts, interactive menus, and voice memos to consumer, industrial
and security products. Available pre-recording serivces make it easy to add
voice to system design.
* Non-volatile message storage using patented
multi-level storage (MLS)
* Full range of Record and Playback Durations
(6 Seconds to 17 Minutes)
* 4.0 to 12.0KHz Sampling Frequency provides
Industry-Leading Sound Quality
* Designed for Message Management
o Single/Multiple messages
o Voice prompting
* Fully Integrated System Functions
o Automatic Gain Converter
o Microphone preamplifier
o Speaker drivers
o Oscillator
o Flash Memory
* Low Voltage Operation
* Customizable and localizable for different
markets and languages
* Highest quality in voice record and playback for embedded and standalone
applications
o Voice band design for efficient speech capture
o Analog capture avoids sound quality degradation due to ADPCM and other digital
solutions
o Unique approach avoids cost and complexity of DSP based solutions
* Voice record and playback system on a single chip
o Analog circuit elements for complete system design solutions
* Non-volatile message storage due to multi-level storage architecture
o MLS technology eliminates digital compression artifacts, while minimizing
memory array size
The
ISD5100-Series ChipCorder products provide high quality, fully integrated,
single-chip Record/Playback solutions for 2- to 16-minute
messaging applications that are ideal for use in cellular phones,
automotive communications, GPS/navigation systems and other portable products.
The ISD5100-Series products are an enhancement of the ISD5000 architecture,
providing: 1) the I2C serial port - address, control and
duration selection are accomplished through an I2C interface to minimize pin
count (ONLY two control lines required); 2) the capability
of storing digital data (link),
in addition to analog, information. These features allow customers to store
phone book numbers, system configuration parameters and message address pointers
for message management capability.
* 916.5 MHz Operation
* 300 Ft. Range - Dependant on Transmitter Power Supply
* 200,000 bps transfer rate.
* Small footprint
* Interfaces directly to MCU
* 26$US for tx/rx pair
Other Wireless technology links
Sunspot wireless sensor/actuator platform
The device seems to be able to detect nearby devices, although I don't know
which sensors it uses for this. I observed a demonstration by Rob Tow where
he "poured" the light in the leds from one device into the leds
of another device.
So you can play a game of tag, where a piece of code is transferred from one
device to another. (It would be cool if played with many people).
Rob Tow mentioned another application, not necessarily for Sun Spots: if
you fit all packages in a postal truck with a device, the "swarm"
can detect if a package fell off the truck (or was stolen).
FTDI USB-SERIAL Chip or FTDI
US232B USB to Serial Adapter (optional)
For compatibility issues. Check if driver
works for PC and Mac. Check voltage required (5volt vs 3volts)
POWER
3volt rechargeable batteries, find 3volts transformers for prototyping phase
(dimension engineering voltage regulators come to mind)
IC Sockets
The IC sockets chosen are Mil-Max Low-profile gold-plated open frame, because
they're small, light and sturdy. Also low profile ZIF sockets are ideal for
the early prototyping phases when frequent reprogramming of the chip is needed.
The following are extracts from Dialogue with a monologue: Voice
Chips and the Products of Abstract Speech by Natalie Jeremijenko
"Attributing agency to technology
Latour's Actor Network Theory
technological determinism
marginal benefit
conversing with a device
What is initially observable from the list of products and patents that contain
voice chips is
that there is no systematic relationship between the products that include voice
chips and the
uses or purposes of those products. Except for children toys, no one market
sector is more
saturated with talkative products than another. These chips are distributed
throughout diverse
products. However, we can view the voices as representatives, as in a democratic
republic where
voices are counted. Just as in a republic each citizen has a vote but most chose
not to exercise it,
likewise, most products could incorporate voice chips but most do not, so we
will count what we
can.
Patents are a step in the
process of becoming owned, therefore worth money, and thereby demonstrate how
voice, a social
technology, becomes property.
Speech as Music
Many of the patents that are granted specifically collapse any difference between
music
and speech. This contrasts with the careful attention given to the meaning of
the words used in
the alarm system family of the Translators. An explicit example is the business
card receptacle,
which solves the problem of having business cards stapled onto letters making
them more difficult
to read, and provides an 'improved receptacle that actively draws attention
to the receptacle and
creates an interest in the recipient by use of audio signals, such as sounds,
voice messages,
speech, sound effects, musical melodies, tones or the like, to read and retain
the enclosed
object.'28 Another example is the Einstein quiz game that alternately stated
'correct, you're a
genius!!' or sounded bells and whistles, when the player answered the question
correctly. This
interchangeability of speech and music is common in the patent literature presumably
because
there no particular difference technically. In this way patents are designed
to stake claims -- the
wider the claim the better. The lack of specificity, this deliberate vagueness
in these material
based intellectual property law contradicts the carefulness of copyright law,
the dominant
institution for 'owning' words.
Local talk from a distance
One would expect chips which afford miniaturization and inclusion in many low
power
products to be designed to address their local audience, in contrast to booming
public address
systems or broadcast technologies. However, several of these voice chip voices
re-circulate on
the already established (human) voice highways. The oil spill detector29 that
transmits via radio
the GPS position of the accident, or 'the cell phone based automatic emergency
vehicle location
system' which reports the latitude and longitude into an automatically dialed
cell phone30. These
are examples of a voice chip standing in for, and exploiting the networks established
for humans,
transmitting as pretend humans. This class of products, local agents speaking
to remote sites, are
curious because the information can easily be transmitted efficiently as signals
of other types.
Why not just transmit the digital signal instead of translating it first into
speech? The voice
networks are more 'public access', more inclusive, if we count these products
as part of our
public, too. The counter example, of voice chips acting as the local agent to
perform centrally
generated commands, is also common, as in the credit card actuated telecommunication
access
network that includes a voice chip to interact locally with the customer while
the actual processing
is done at the main switchboard. Although the voice is generated locally, the
decisions on what it
will say (i.e. the interactions) are not.
This listing demonstrates a cultural phenomena which enthusiastically embraces
children
interacting with machine voices and articulates the specific didactic attitudes
that are projected
onto products. These technological socialization devices have already been subject
to analysis,
for instances Turkle's study of children attitudes towards 'interactive' products31.
the failure of the market place to find a need for voice capability on home
appliances has discouraged the use of voice
chips in other products'35 but lending the market agency for design assumptions
is circular logic.
This indicates that when the results are exhaustively knowable, the need for
interaction
diminishes.
they demonstrate that for the voice to
make sense, the technological relationship itself needs to make sense. The speech
from devices
is as culturally contingent as language.
Music, unlike
machines, is commonly understood as 'culture', or a cultural phenomena and its
analysis looks
very different in comparison with the analysis of technology.
Listening modes are not, of course, limited to music, and nor for that matter
is a musical
experience limited to music. Even so, teasing out the musical modes of listening
from listening
modes that focus toward the sound's quality, it's information carrying aspect,
or other nonverbal
aesthetic modes is difficult. The 'cultural work' of using unmusical sounds
as music is not
uncommon, for example, Chicago's Speech Choir, John Cages 4'33, the Symphony
of Sirens44
and the sounds created with samplers, particularly for percussive effects. At
the same time the
sirens, speech choirs, etc. do not lose their extra-musical meaning as they
become music.
Conversely, using musical sounds for nonmusical ends is the conceit of many
voice chip
applications.
Speech Acts categories:
Commissives: speaker places him/herself
under obligation to do something or carry something
out, promises for example, or in a telephone system, 'I will transfer you to
the operator';
Declaritives: making a declaration,
that brings about a new set of circumstances, when your boss
declares your are fired or when the car states 'the lights are on'; Directives:
tells the listener to do
something for the speaker, 'please close the door', 'move away from the car';
Expressives:without specific function
except to keep social interactions going smoothly, like 'please' and 'thank
you', or the more expressive 'I love you'.
is there a difference between talking with a voice chip and talking with something
(human) with
which we share capacities other than speech? Is speech abstractable?
"In order to practise
and master chakujitsu, chaku has yet to be created."
