In their conception as live tools for performances in club contexts the objets célibataires can be compared to a playful Lebensmaschine= living machine in the sense of Christoph Schlingensief. When he presents the re-make of the historic theater-machine animatograph, he follows in its format works of avantgarde artists such as Lázló Moholy Nagy, who constructed with his light-space-modulator what were at first glance useless multi-layered spaces as stages for play in reality. From the ludics point of view this new animatograph intends to be
a "graphical" glitch machine
, which engraves texts into the scene play and its surrounding realities. This black boxed deus ex machina is an effort to liberate from the pure art forms, as the art form of (stage-)play. For this purpose a real play machine needs to be created, which the ludic socialite can compare to other play objects.
In an act of
variantology, understood as relationship between norm and deviation, the ludic synthesizer will be driven by a spiralcurved poetic objet célibataire
.
