Behind the  of no-sound.  May we find ways "to investigate relationships between sound, meaning, touch and the sense(s) of self. This sense of self of course implies 'the sense of an encounter (or being touched) by/with/through the 'Other'". In the thick wondrous spatiotemporal experience. On a horizontal scale there is no end to what appears. An eternal line stretches into the next and the further. 

The project title ''No Self Can Tell' is a reminder that ''the'' self is a grammatical fiction. Any self

exists relationally, which is to say: subjectivity is ecology. The ''I'' is formed by complex inter -

dependent networks. Any 'borders' between inner and outer systems are of necessity porous.

For these reasons, aesthetics (conscious or unconscious sensate encounters with an 'Other')

seems the most fruitful zone of exploration for trauma-related disorders of identity. The words

'no self can tell' suggest that resources for healing and re-connecting damaged psycho-social

ecologies exist. The world, the Other– the 'not self' – can tell us what these resources are... if

we connect with them in appropriate ways. As Terence McKenna said of Sartre's ideas of the

exiled and excommunicated individual - ''It is not nature which is mute [as Sartre claims] - it is

we who are deaf''. (Complete project description)

"To investigate how we make sense of Otherness via processes akin to musical praxis: most notably consonance, dissonance, 'pure voice' and ornamentation."

Leaning towards the very last, stretched-out extreme. Not failing to see what may not be visible; not failing to hear what may not be heard;  not failing to sense what may not be sensed.

"Shock  flourishes within arts of time and particularly within such temporal problems of those of boredom and habit. Shock is a rejuvination withing fatigue systems of representation and thought. [...] With shock we face all or nothing, the Russian roulette of a mind or a system at the end of its rope. It is a last rather than a first move within experience" (Fisher, 1998)