 Es geht jetzt gleich los mit dem nächsten spannenden Vortrag. Und zwar geht es um folgendes Thema und zwar rhetorische Selbstmontage, Subportage, was eigentlich passiert, wenn wir reden. Dazu wird Pico uns spannende Dinge erzählen. Sie ist FNIT-Sprechtrede-Innerin und macht Workshops aufs CCC-Veranstaltungen, ist gleichzeitig auch Stimmtraining. Und was ich halt besonders mag, ist die Leitung dieses CCC-Kurs, den wir alle noch aus diesem Every Creature Is Welcome Film von Sandra, irgendwie im Hinterkopf haben, darum. Ein großes Willkommen und ich sage einfach mal schon mal... All Creatures Welcome Film. Und also Proaktive Applaus für Pico. Hallo, mein Name ist Pico und ich erzähle euch etwas über die rhetorische Selbstmontage. Was passiert eigentlich, wenn wir sprechen? So, erst mal... Wir machen dieses Gespräch als Workshop, ein Teil dieses Chaos-Events. Und über das Internet... Aber leider... Natürlich ist das Konkurs nicht passiert und wir müssen versuchen, dieses Workshop zu erheben. Und es geht natürlich um... Ich habe zusammen ein bisschen der Theorie, das behindert das Workshop, und dann spreche ich ein bisschen über das, über das. Das Gespräch hat drei Parts zu es. Zuerst über die Psychologie und dann ein bisschen über das Void. Und dann... Das Gespräch hat drei Parts zu es. Zuerst über die Psychologie und dann ein bisschen über das Void. Und dann, lastlich, sprechen wir über, wie wir uns selbst sabotagen. Ja, ich denke... Ich spreche primarily über die Menschen, die sprechen, weil das das Konkurs des Workshop ist. Also, wir reden jetzt über die Psychologie-Events. So, die drei wirklich wichtigsten Artikel sind, wie laut wir sind, wie lange wir sprechen, den Ton. Also, ich finde, ich spreche ein bisschen höher, oder ein bisschen kleiner. Wenn du eine wirklich scharfe Void hast oder eine wirklich soft Void hast und genau so, das ist kontradikativ zu den drei Bereichen, wie wir die Void bilden. Das ist warum du supportest, was wir versuchen, zu sagen. Und genau so, wir sprechen über unsere Body-Positionen und alles, was wir von der Leitgerüst haben. Wenn du supportest, dass du supportest, unsere Void. Und du stabilisierst es. Und dann, das Ziel ist, dass wir keine Muskeln brauchen, wenn wir es durch die Leitgerüst supporten. Und ich denke, wenn du breitest und es gibt Druck, dass du es stabilisierst. Oh! Woa, wir haben das Auto. Und du kriegst, dass du es durch unterschiedliche Arten drückst. Was? Drei Dinge, wie laut wir sind, wie das Ton und dann wie wir sounden. Wie es genau funktioniert hier? Es geht durch die Leitgerüst. Und dann, wie wir positionieren. Und die Leute, die schon Yoga machen, verstehen das wahrscheinlich. Es gibt wirklich zwei große Fälle, die wir denken, wenn wir breiten. Eines ist die Leitgerüst. Also, wenn wir in die Leitgerüst breiten und die Leitgerüst weiten. Also, wenn die Leitgerüst kommt und die Leitgerüst etwas macht, wenn du sagst, die Leitgerüst, es bedeutet nicht, dass die Leitgerüst natürlich in die Leitgerüst geht, aber es geht um verschiedene Muskeln und die Reaktion. Also, die Leitgerüst, wenn wir in die Leitgerüst breiten, ist es wirklich schwierig, zwischen diesen beiden Types zu breiten. Also, es ist eigentlich mehr effizient und leichter, durch das Stimmig zu breiten. Oder optimell, wenn du es durch beide Muskeln machst. Du kannst es selbst praktizieren. Du versuchst es, und dann praktizierst, und dann schaust du es an. Das ist dein Stimmig zu breiten. Aber schauen wir uns zusammen. Wir schauen in die Thorax, ich glaube, und es schaut in die Lungen, es ist das Gateway. Alles, was in der Luft kommt, kommt in unsere Lungen. Und natürlich ist die Lunge sehr gut. Aber wenn deine Lungen blockiert sind, ist es nicht gut. Und natürlich ist es nicht gut. Und wenn es eigentlich die Lungen gibt, und dann wird du koffing. Und diesen Koffingreflex ist wirklich wichtig in deinem Leben, weil du musst implementieren, um das zu bekommen. Und natürlich ist es für das etwas, das sehr wichtig ist. Und dann spielt es auch eine Rolle in dem, wie die Lunge klingt. Und es ist nicht nur Menschen, Menschen, die es tun, sondern natürlich auch andere Tiere. Also Böden werden mit verschiedenen Tönen, aber in einem anderen Weg. Hier, wir schauen auf eine andere Pitcher, die kommt. Hier siehst du einen interstitialen Raum. Und hier siehst du, wo die Lunge ist. Und da siehst du die Lungen. Und da sind zwei Flaps, basically. Es ist etwas, was die Voicelub nennt. Und es ist positioniert da, so wie diese. So wie meine Hände. Wenn ich dann breche, und du siehst, dass es in der Pitcher ist, dann ist es open. Oder wenn ich dann breche, dann wird es actually closed. Es ist ein Muskelsystem, das wird open und closes in diesem Gateway. Ich finde diese Pitcher sehr interessant und schön, weil zwischen diesem Opening siehst du eigentlich ein Gateway zu den Lungen. Und du siehst jemanden, der intubiert ist. Und diese zwei Flaps, die wir sehen, haben ein Muskel von ihnen. Sie werden either relaxed oder glubbi-tänzt. Und das wird das Tone, das du sprechen siehst, und wie dein Void klingt. Du kannst es von der Front oder von der Back sehen. Und wenn du hier die Pitcher sehst, und du siehst, wie es schwingt, die Lungen haben eine Presse, und es wird zusammengebreitet. Und dann wird die Presse von unten immer erhöht. Und dann wird das Gateway offen springen. Und dann wird die Presse dann erhöht. Und dann wird es zusammengebreitet. Du siehst auch von der Pitcher, dass es verschiedene Piste gibt. Die Piste sind die Muskeln, die die Kontraktion und die Erleichtung kontrollieren. Es ist nicht eine 1- oder 0-Situation. Es ist nicht zusammengebreitet, aber du siehst in der Pitcher, wie es sich verändert. Und wie genau sie zusammengebreitet sind. Du siehst eine Flexibilität in der anderen Länge, in der Orange. Das ist ... Es wird ein Mucous, das dann die Muskeln coverieren. So, dann kommen wir zu den Lippen der Mouth. Und wir sehen, dass eine Veränderung der Form eine Veränderung der Resonanz hat. Oder wenn du die Stimme dampfst, oder nicht, und es kommt von der Front zu der Back, und du dich zwischen der Resonanz und der Pressur, diese Veränderung zwischen den beiden wird die Stimme verändern, die kommt. Und in der Brille interpretieren wir das, wie laut jemand beginnt. Und es ist nicht, ob es eigentlich fertig ist, aber es ist eigentlich die Interpretation, für instance, von A und O. Du kannst wirklich sehen, dass die Form der Lippen verändern. Und wie open es ist, von A zu O. Das ist klein von O. Und natürlich, mit dieser Veränderung, du kannst es dann hören. Und jetzt schauen wir an Speziale Konditionen für Physiologie. Das erste, wenn wir sprechen. Und das ist, wenn es open ist. Das Air geht durch es, und es gibt ein bisschen Rössling. Und dann, obwohl es Rössling ist, du kannst noch hier, wenn sie zusammen pressen, ein bisschen, ein bisschen, ein bisschen, dann du kannst das Pressen hören. Und natürlich, in diesem Speziale Konditionen, wenn diese Konditionen wirklich zusammen pressen, und das Pressen und die Langen ist so stark, dass es wirklich brutal verspürt. Und das bedeutet, und dann wir switchen zu der zweiten Kase der Gesundheit der Stimme. Also, ich würde gerne etwas über Horsen against protectieren. Also, wir haben gesprochen, die Mucus, das Vochor, und die Vocal Chords sind extrem resilient. Und du kannst sie überrechzen. Und so, du bekommst ein schlechtes Gefühl in sie, und das Sound wirklich verändert. Also, wenn die Vocal Chords gespürt sind mit mehr Blut, sehr kleine Ängste machen einen großen Unterschied in dem Sound ist produziert. Also, deswegen ist es wirklich sehr hilfreich, wenn du die Horsen verabschiedest. Denn es ist wirklich schwer zu kompensieren, und und wenn es viel passiert, die Mucus reduziert und es kann eine permanente Kondition werden. Und hier sind fünf ways, in denen du das helfen kannst. Also, um die Stimme zu erhöhen und deine eigene Kondition zu erhöhen. Das ist der Unterschied zwischen älteren und jüngeren Menschen in ihren Voidern. Das ist nicht nur, weil die Voidern erhöhen, die Stimme zu erhöhen und die Stimme zu erhöhen. Es ist auch das eigentliche Sound der Stimme. Es sind Leute, die so gut dass sie die Stimme mit 70 haben, als sie mit 20 haben. Und es ist leicht zu machen, aber wirklich schwer, um es zu halten. Also, regular exercise ist ein guter Weg. Also, wenn deine Stimme immer in der selben Position ist und sie in den selben Weg benutzt. Und wenn du sehr, sehr wenig haben, wir haben viele Möglichkeiten, uns zu expressen mit unseren Voidern. Es ist so, dass du eine große Pack von Coloring Pins und nur die zwei benutzt. Und das ist das, was unser Void für dich ist, und wenn du das machst, wenn du dein Void erhältst, ist Resonanz. Physisch, aber du kannst es auf Wikipedia schreiben. Aber wenn du es willst, wenn du dir einfach die Stimme erhältst, kannst du die Resonanz des Voids in deinem Schiff machen. Und das beste Weg, ist, mit jemandem, der einen sehr tiefen Void hat und die Hand auf ihrem Schiff putzt, um es wirklich zu fühlen. Und bei höheren Resonanzfrequenzen kannst du mehr in deinem Schiff verbinden. Und du solltest deine Beziehung zu fühlen, die existiven Resonanz sind, nicht so viele neue Resonanzen, aber zu fühlen, wo sie sind, um zu gehen. Und so kannst du sehr direkt wie es funktioniert mein Gott und und du some exercises by speaking certain words to feel the resonance. Third one is to speak more softly. And you might have this noise you're fighting against and you're trying to give 50% and that is really hard on yourself, but also on the listeners. If they get a little bit too much all the time they're they have a hard time following you, because they get tired. So variance here is also very helpful. Sometimes very softly, then very loud and starting very strongly and then fading off a little bit. Try to produce your consonants very clearly. Unclear consonants are the result of speaking in a too relaxed way. You can try that for yourself keep your mouth very loose and no facial expressions and just talk very softly to yourself and when you do that and try to to do exactly the opposite because and when you do that you need less voice especially in German the consonants play a very important role in transporting the meaning of the words. So you can relax your larynx by doing more specific consonants and of course more breaks you can relax your voice by extending the pauses within the sentences and I hope you just notice that it's not about listeners stopping to listen but it actually increases attention and you need to have the listener you need to give the listener space so you don't need to produce sound all the time and in the greater context I've talked a lot for an hour now I'm going to be silent for a while so so so, if you get hurts the best thing really is silence, do not speak that is the best thing you can do and make breaks, take your pauses inside the sentences, between sentences short break for a second relaxation and if you're on a walk you stop and sit down for a couple minutes every once in a while and if you're hurts don't try hard to overcome it that only will make it worse one important thing here a really important thing about implementing this if you're talking right now in the middle of a talk while you're doing the talk you don't have to think about this at all if you're very interested in what you're talking about this will automatically happen try all this in a smaller environment where you feel safe don't try this on a big stage so let's get to stereotypes of female communication in in this part I talk about a very dualistic view of female and women there are two poles and in between there is a huge space where people actually are and people might be anywhere on the spectrum and there are enough cis women who communicate in a very masculine way and so there's a lot of ways to move between those two extremes if I describe stereotypically female communication and the topic is rhetorical self-sabotage women are doing it bad I'm already I'm already I'm already at the point where I'm basically saying women, let's do it like like the men if that is the right thing to do for you then that's okay but I find it correct the way I speak then that's okay too okay, let's get to the stereotypical female communication I want to explain you know you know the word dialect which is a regional way of speaking and just give the gender the way to speak depending on what your gender is and there's a couple of ways to speak which are not helpful for what we want to transport the most of it can be symbolized by the image of the small little young girl very friendly and is very nice and it always gets gifted chocolate and it would never talk up to to grownups and she might be a bit funny but she's not going to disagree with elders and this works until you're about 25 and after that you get more and more problems so if you sound like a small girl it's really hard to get out of that situation especially because you feel very weird suddenly trying to speak with a lower voice and it is the complete habit to speak the way you speak but I can speak completely different and in which relations do I speak in which way so how do I speak to people I want to impress and how do I speak I've created so many problems and issues and maybe I want to retreat into a corner and not show up and these automatic ways ingrained ways of speaking don't make it easier to handle to retrain yourself and so it gets really hard so the melody of speech especially the pattern of upspeak if you end the sentence when your voice gets higher at the end of the sentence even though you're not asking a question there's a nice carpet instead of there's a nice carpet the first variation is less strong and comes over as insecure that is not necessarily female there's very nice examples of Dr. W. Bush who use that a lot and really recognize that he's insecure in those moments and really important for the small life girl is that she doesn't take up any space also not in terms of time I don't want to interrupt you I just quickly say what I want to say and speak very quickly and by speaking quickly you might more resistance in the people you're speaking to instead of speaking more confidently and there's another problem that women have to fight with that women that women get interrupted much more often by men but also by other women and to stop that from happening you can try to speak constantly and not leave any spaces where people could interject and it's really useful to not show when the sentence is over and so it's a very nice carpet and this is a very nice chair and the people listening have the feeling that you're not finished talking and when your voice goes down your melody goes down then listeners might think that you're done speaking so women use relativism to speak what they want to say so instead of stating this is a nice carpet and this is what I want to say saying I think it's a nice carpet and with many more words you basically say the same and in that case everybody has to decide for themselves you have to be aware of how strongly people present their ideas and opinions and how much they speak like it's the truth and there's people who know the truth and with all those optional things is it if you lead a sentence with I think it could be that maybe that is weak in your own position another way another thing is you want to say many things and you're gesticulating very quickly or you take the space und so one very important one very useful point are your shoulders and your elbows so pulling up your shoulders feels bad and your muscles will get tie it more quickly and your listeners will see the way you're holding up yourself and it will tie them out as well so if you feel well your listeners will feel well so finally this definition you have to read backwards the always getting better defined by not being good don't be frustrated if it doesn't work well don't get angry if a speech a talk didn't work the way you want it or just a talk be happy about the fact that you notice that something could be improved and concentrate on the next battle think of this think about the first time you sit at a piano when you try the first time it's going to sound awful but then by the fifth time maybe something good comes out of it when you you're looking at different website or presentation you have to realize that they have practiced already a hundred times it's not going to come out perfect the first time and it will always get better it will always improve and sometime then at one point you're going to be really satisfied here's my contact information I'm on chaos social or other social networks thank you very much so we're getting to the questions that have been added to the pad question number one so should we try to avoid coughing yes so when you're coughing it's a reflex and when you really need to cough it can't avoid it but there are some people that will and it's not really necessary so leave it alone you shouldn't be coughing twice just because you can't talk this is a process that will be developed over a long time so when you're noticing this you need to recognize it and then avoid it but don't pressure yourself not to cough if it's a health reason so what happens when you clear your throat with your throat I'll present with my hands here what happens they're rubbing together this is not good it's really brutal it's not good that you're rubbing together the mucus is actually increasing and it's more than normal and you can have this be not the case to have a raspy voice is also not good when they're rubbing together so strongly then there's more mucus there because your voice needs it and then you're in a a vicious circle when it happens now and again and you see it in one situation and it's good because you actually want it to happen for example but in other cases it's a vicious circle and you don't want it the next question what happens to your throat when you try to suppress a sneeze that's an interesting question I really can't see say unfortunately by sneezing the larynx is going to be wide open but otherwise I can't see what's happening how do hormones affect the voice can you change that to training we normally speak when we're not professional singers or professional trainers in that area our voice technique is not really maximized so we can really train and always improve and it's not going to be dependent on other things the hormones do influence it and it also changes during puberty for many upper singers and also it also has an influence in their career so when you go through these changes you have to see if you can keep on singing what's happening in your hormones you would have to ask a voice doctor you have any suggestions how you can train voice melody in higher age yes it's funny but what happens with a lot of people is when you speak really sweetly to small kids then you're going to be speaking more softly naturally that's one thing and then when you're breathing in there's a lot of things you can influence without thinking about it especially when I'm angry one can hear that in my voice what can I do about it I have to think about it for a second so actually it's good that our emotions are being heard through our voice a lot of people will see one emotion when they're lying or they won't hold their emotions when they're lying so when you're angry naturally there's things that you can help bring yourself under from the anger you can practice yourself how do you sound when you're not angry and then you can do exercises and then remember what you sound like fundamentally you can then think about a light female tone so when you lose a lot of weight the voice changes a lot what exactly changes this is the first time I've heard it but it sounds right to me I think everything I can't say this with absolute certainty but your resonance does change how exactly your body is changing and moving also how your energy is being transmitted through your muscles is changing of course your breaths are really changing so everything that is influencing and changing the body is going to be changing your voice as well to imagine it like like a butterfly there are so many different levels before it actually changes and comes out thinking about a cramp in your leg and then you have a breath that comes in and then all of a sudden you have a different way of speaking because of it what tips about healthness and can you give for different languages oh that's interesting a lot of things that I've said about the genderlect we're talking about a german genderlect so inside the german dialect there's already differences in the way that females speakers are speaking of their talking about the melody or how deep it is and you're comparing it to the man and their melody um was so for instance a melody of a female would be more when you're talking about four languages there's differences it's interesting how there's different speaking concepts within different languages so for instance in italien the vocal sounds are actually more important and when they're non seeding the consonants as strongly and so this is a difference for italien the principles that I've talked about in my lecture are staying the same across all languages what possibilities do I have as a listener in a talk to somebody who is speaking very softly I would say there are short term strategies and then long term strategies you want to give the speaker a feeling of security and hopefully the person has the courage to change but of course in long term that's different in the short term you get a person a lot of attention or you can just say I can't hear you sorry could you speak up a little more however maybe to say directly you speak to softly I would like to hear what you're saying how do I avoid getting out of breath while speaking that's interesting often it's not really that it's not really about really getting out of breath it's a problem of finding the right words of what you're saying or what you're saying next so there it's an example of a lot of breath that matches perfectly the next question just at the beginning of a talk is it possible that excitement is leading to short breath at the beginning of a talk of course absolutely it happens to me of course in the beginning of a lecture it's not talking about speech techniques from your body but it's talking about speech techniques from your brain and saying what happens when you're really excited it's a really good idea beforehand to really feel your body it sounds esoteric but it's practical and then you're more relaxed when you feel this it's not just that it's doing well for your results but it helps you feel better and then you're practicing making your muscles more relaxed I have the feeling that the dissonance between the visual girl and the voice representation makes listeners aggressive sometimes how yes one hand directly in this you have to think about for this girl how far is this going are you really going to irritate people there's dissonance or there's this reaction from people it's not meant to be mean of course but it's to make a connection and it's not not maybe it helps to be a little bit more relaxed and quiet about it it's not a problem of the patriarchy and you don't want to discuss that of course the next question is about sexuality is that okay why is my voice so different if I just had an orgasm that is really about relaxing your body completely when we're speaking by all people who want to speak friendly they have a little bit of tension and you're talking a little higher than necessary but in this moment there's so confidence the people have already seen me naked and you're relaxed it's a very different situation and you don't have any fear anymore and is this fear that we're actually speaking tensely and not so relaxed when singing I always get the advice to sing with my whole body can we translate that to speaking and how can I give that a try in my day to day life yes this is by a lot of exercises you can do by speaking and singing you can say feel the butterflies that are in your nose for example it really helps people and then a lot of people think what should I do then with my right side the problem is when you're telling a school kid to do this what should happen then the person is then feeling too tense and then they don't have enough confidence anymore so can I hear the question again once more how can I do this in my day to day life right okay to keep it in your body and so forth when it's for you when you're feeling something resonates say okay this is going through my whole body so then it's actually good when it seems so it doesn't feel right to you then you can ignore this advice when you're talking about bringing over your point speaking what's helping is making gestures so make your gestures in the rhythm and the same rhythm as your voice you can also stand that's helpful although sitting down is more comfortable then you're supporting yourself better when you're standing when you feel the breath go through completely that's also helpful when you're singing you're also paying attention to the feeling of going through the breath going through actually be aware of what your breath is doing and it's really amateur if you're always doing the same rhythm bring your breath in and then it should take a longer time when your breath is leaving another thing is about the residence so the next two questions belong together is it is it useful to answer very loudly if somebody else is speaking loud and if in a meeting should I adjust to the volume and the speech of the other person so I avoid to be interrupted so I don't it could come across not very nice if someone said don't interrupt me so it's kind of a vicious circle because when there's a lot of pressure or something in the short term it's one thing in other situations it could actually help you and another time it could be helpful for instance if you did it twice another person can say hey she interrupted you twice let her speak this time so we should try this is cliche that she had the idea then someone is being ignored and then josh for instance or another person will say oh this, oh he had the great idea gegenseitig and then of course you need to think about the communication and for help from people to bring across your voice is a struggle that maybe you win or maybe you really lose it but there are thousand little situations and then you have to think for yourself what is the best solution for this next question how is there a connection between speech style and gender identity absolutely this is a little bit how I explained in the third section how this is connected to the idea of gender I think also with the last Easter hack we talked about this and it's of course the theme of how people really understand each other as female and they dive a little bit deeper into the issue of gender and a lot of times is actually a positive connotation it's not necessarily a bad thing so there's only two and a half minutes left I very quickly will ask the questions can a woman express anger without being hysterical? yes you can take a you can say I'm really angry at you and try to really speak deeply when you say it what should you not do while singing don't make gestures with your hands while you're doing it so we're not doing a singing lesson of course there's lots of things that would be important in a singing lesson try to sing like it feels good for you can I train my voice to be lower in a later age always think about it calm yourself speak calmly and do a training like that and then it will probably not that high I have a very almost harsh voice how can I improve that that's exactly what I meant super so this is exactly what I mean you can look again here's the last question can I become very silent to my teacher thought that was a good idea to calm people down totally but it's also not very friendly when when the public actually wants to speak themselves then it's actually a good method but in the situation of the public is not guilty of anything then it's actually I don't find it so great thank you very much a lot of applause this was the english translation what happens when we speak your interpreters were Celeste and STB we hope you had a good time hear you on the next talk