Works such as the Handmates (1995) or Jelly Soap (1997), for example, intentionally slip away from conventional rules and expectations of use. While one normally rubs soap between the hands to create lather, this type of treatment disintegrates Jelly Soap into useless little pieces. One rarely hits upon the idea of allow ing this type of soap, neither solid nor liquid, to melt in one's hand. Even with this information, says Walde, many users cannot free themselves from these automatic codes and rites of everyday behaviour. Walde draws us into a contradiction – here on a tactile level – and looking back one perceives the ordinary in a different manner. "I find it interesting", he says, "to create a structure that takes you on to something unknown." (7) In such formdirected renunciation of the familiar, which is inherent to ones handling of objects just as it is to the irritating series of images Clips of Slips (2002) or Der Regen hat eine angenehme Temperatur (2003), a work pointing at a new perception for space, Walde is basically suggesting something like a parallel world – a world in which things correlate differently, function differently, and harbour new potential. He links the experience of such parallel worlds to the constituent moment of performative interaction, at which point only a work is allowed to become something real or specific for a viewer/user (who themselves would define it as such). Naturally Walde defines parameters in such "proposals", but he ultimately leaves open the question of how such a setting can preserve the character of a work. Some works bring about surprising reactions or other ways of use or interpretation that Walde had not foreseen, and which may change a work's meaning and/or form or be at the basis of more refined future versions. Walde often speaks in terms of an "intermediate state", a "model", and/or a "prototype", yet being unfinished is not deemed a shortcoming here, but much rather another aspect of a form. It is thus thoroughly "formulated" and thereby oriented on testing and impulse – just like a hypothesis that only becomes complete through a brush with reality, in other words it is steered in a specific direction and thereby adopts its shape.