Language proposes a protean set of codes which permeate both space and identity.  The resulting identity politics of multi-nation diaspora erupts in a social frame where elements of languages merge and broadcast.  This social space of language figures a map of the progress of cultural identity.  As culture is tuned in the codes of language, so is a liminal space of the non-finite uncoded parts of speech a result of this exchange.  In the margins are the beginnings and endings, and the incomplete components of speech. "phonomono" are part of a larger group of works which collide three tangential systems: cultural identity, linguistics, and acoustics (the harmonies of various musical traditions).  These works precede a collection of aspirate/fricative devices: all multi-lingual phoneme imitators, some subject to harmonic effects, and present as a "phonetic harmony", both trans-culturally and multi-tonally.

The following is excerpted from Lemmetty, Sami "Review of Speech Synthesis Technology," Laboratory of Acoustics and Audio Signal Processing, Helsinki University of Technology, Helsinki: 1999

The earliest efforts to produce synthetic speech were made over two hundred years ago (Flanagan 1972, Flanagan et al. 1973, Schroeder 1993).  In St. Petersburg 1779 Russian Professor Christian Kratzenstein explained physiological differences between five long vowels (/a/, /e/, /i/, /o/, and /u/) and made apparatus to produce them artificially.  He constructed acoustic resonators similar to the human vocal tract and activated the resonators with vibrating reeds like in music instruments.  A few years later, in Vienna 1791, Wolfgang von Kempelen introduced his "Acoustic-Mechanical Speech Machine", which was able to produce single sounds and some sound combinations (Klatt 1987, Schroeder 1993).  In fact, Kempelen started his work before Kratzenstein, in 1769, and after over 20 years of research he also published a book in which he described his studies on human speech production and the experiments with his speaking machine.  The essential parts of the machine were a pressure chamber for the lungs, a vibrating reed to act as vocal cords, and a leather tube for the vocal tract action.  By manipulating the shape of the leather tube he could produce different vowel sounds.  Consonants were simulated by four separate constricted passages and controlled by the fingers.  For plosive sounds he also employed a model of a vocal tract that included a hinged tongue and movable lips.  His studies led to the theory that the vocal tract, a cavity between the vocal cords and the lips, is the main site of acoustic articulation.  Before von Kempelen's demonstrations the larynx was generally considered as a center of speech production.  In about the mid 1800's Charles Wheatstone constructed his famous version of von Kempelen's speaking machine [shown above].  It was a bit more complicated and was capable of producing vowels and most of the consonant sounds.  Some sound combinations and even full words were also possible.  Vowels were produced with a vibrating reed and all passages were closed.  Resonances were effected by deforming the leather resonator like in von Kempelen's machine.  Consonants, including nasals, were produced with turbulent flow through a suitable passage with reed-off.  The connection between a specific vowel sound and the geometry of the vocal tract was found by Willis in 1838 (Schroeder 1993).  He synthesized different vowels with tube resonators like organ pipes.  He also discovered that the vowel quality depended only on the length of the tube and not on its diameter.  In late 1800's Alexander Graham Bell with his father, inspired by Wheatstone's speaking machine, constructed the same kind of speaking machine.  Bell made also some questionable experiments with his terrier.  He put his dog between his legs and made it growl, then he modified vocal tract by his hands to produce speech-like sounds (Flanagan 1972, Shroeder 1993).  The research and experiments with mechanical and semi-electrical analogs of vocal system were made until 1960's, but with no remarkable success.  The mechanical and semi-electrical experiments made by famous scientists, such as Herman von Helmholz and Charles Wheatstone are well described in Flanagan (1972), Flanagan et al. (1973), and Shroeder (1993).  See also Riches, Martin (1997) The Talking Machine. Experimental Musical Instruments vol. 13 (2).