This piece is about perspective-taking: listeners taking perspectives to the people in the past, to fellow listeners, to musicians, to composer, musicians to the listeners, the composer, to each other, and composer to all of the above etc. The method is to set up specific conditions that heighten awareness of dissimilarity, demobilize habitual routes of perception and cognition, and necessitate the search of new routes that involves perspective taking.

To this end, there are non-habitual forces of exclusion and inclusion on different levels throughout the piece. Exclusions ranges from sensory, so that each listener receives different visual and auditory information, to aesthetic/socio-cultural, so that comprehension and appreciation requires background knowledges and experiences. Inclusions, which offers new routes in bridging exclusivities, recruits the common sensorimotor and cognitive capabilities of all humans, i.e. the intentional use of the human body, as well as the schemtic processes we perceives thousand times on a daily basis — balancing, counterforces, matching, merging, source-path-goal, removal of restraints etc. (c.f. Johnson 1987 and Lakoff 1987).

In this redistribution of knowledge availability, this piece aims to confront the situation of social, cultural, political and ideological co-existence and conflicts prevalent in today's world. It is hoped that the listeners of different backgrounds and capacities can find their own ways in perspective-taking, and at the same time acknowledge and respect the fact that one may not know everything of the other perspectives.