Before Leona and Robert formed the project group they already had lively conversations on the possibilities of audible literature compared to the potential of written or printed instances. There was also a great deal of talk about sound-engineering, too, which they considered to be a necessary discipline to achieve convincing results in "writing" and "wreading" sonic literature. But the most intriguing discourse emerged on the concepts of "depth" and "contour". For they both were deeply inspired/affected by an essay Yves Abrioux brought up in his lecture where these two concepts played a key role in argumentation: "Contours of Constructive Hypertexts" by Mark Bernstein, Michael Joyce and David Levine (1992). From this point it seemed quite obvious to them that their combined efforts had to deal with the concepts of "depth" and "contour" and that a combination of their artistic and scientific interests had to leave the realm of the "traditional" mouse-keyboard-screen-trinity. Consequently the idea of a hypertextual sound-installation on "depth and contour" became inevitable.