To provide a counterpoint to another's journey is necessarily fraught with extreme difficulties, arising from the many forms of impetus which propel all sides of another's work. Falling into the trap of mere 'co-existence' is an opportunity and likelihood at all stages. To refrain from trying to step out of the moving process in order to create false resting places, from which it is possible to assess and therefore limit, is well nigh impossible, unless the continuous and constantly changing nature of the process is admitted.

With the utilisation of media incorporated into others, meanings are more easily read into the material that were not there originally. Eventually it becomes impossible to see through the dust on the mirror. What must be done is to involve so much consideration and cognisance of what is involved at root of all that passes through the hands, that perversion and irreparable damage is made impossible, and yet this state is approachable by others outside, yet observing the process occurring.

Unfortunately, the current attitude to entering into another's position necessitates a compromise of sorts. This is to make experience repeatable so that the recipient feels as if a safety net exists. Risk has been so discouraged in recent experience that it has acquired an almost totally negative aura. But, and this is the point from which it is possible to avoid the aforementioned pitfalls, repetition is impossible in an absolute sense.

This presentation involves elements related to the ideas of meaning, information and content, its juxtaposition and presentation.

The illusion of time, like all illusions, provokes greed, paradoxical near-sightedness, the narrowing of options and fear. Whilst it is possible to outline the circumstances where it may be possible to free oneself from this external grid, the actual "letting-go" of the system is an individual act impossible to enforce or even to give to another, by whichever indirect or direct means. Therefore, the experience provided by the commercial availability of any work is of course always second-hand - "documentation".

The act of creating anything intended for further use necessitates linearity. The difference here is that the sounds used to accompany the work of Neville Brody as it travels through various galleries across the world are only based on that particular modus operandi.

As it moves from place to place, an atmosphere recording of the installed sound will be used as the basis of a new version, so that eventually every place will have had a separate, specific version. The buyer of this cassette has absolutely no way of knowing which part of the world it was intended for, nor where its component parts are drawn from.