More experiments, new paths, try them, if you thought you can't do it, you can. Thought is over matter. First is the belief, you have to believe you can learn new things. And by learning new things actually you're strengthen your brain. When you believe you're getting smarter, you'll work more, and most important and moving: you'll be meeting with yourself, with your limits trying to pass. You're in fact making more nerve-cell connections (I think you noticed that in the moment you dream (deep sleep) about your learnings*), which in turn makes you smarter, more aware about the world, and if you're really special even more communicative, sociably smarter. I will always like this kind of thinking more than a appreciated 'skilled' human. To what good one is a good engineer, it is good of course (as worker) after years and years of try and error. In the end it lacks so many extensions: language skills, music abilities, keeping relations, etc. Experience is dangerous, can turn you ... dumb. You will only see the immediate benefits (eg. salary) and engage in a narrow competition, forgetting about the meaning of 'to be good, creative, non-evil in intentions (eg. undermine a work colleague). You can't believe how evil the world is, and it's only concern is to gain more (goods) than you do.

* "You will never be able to play good chess until you're not dreaming the strategies and moves." my father.

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It is predominantly the language of the right side of the brain, its aim is to awaken emotion in the listener through its kinetic movement. A (ABBILDUNG) music work is for both sides of the brain but about the right side, the left side (must not) cannot argue.

Private is the music vision of the given theme, this includes the emotional part of the performer which may not be as you expect (it is "open" but not to logic). Public is the theme (wordly), here we can argue and discern first whether it's in the world or not.

I will not understand sentences like: "God has a tumor." but I do understand "The Earth is likely to have a tumor: humans."

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I approach interdisciplinarity, towards fully accomplish a music work that reflects the "I". Interdisciplinarity in underlying ideology, in context (assuming there is a context, that is arguable - ABBILDUNG stays within a Wittgensteinian (Tractarian) context base factory) and in scope, in music itself (experiment, skills, tools, methods), imagery, all patched with the emotional and unarguable private aspect, personal visions, creativity.
The final result is an instance of class "I" at a given moment in time.

Simply put, in every activity I desire to apply both empirical and rational methods.

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Music is emotion; beneath, it reflects a fact even though the performer doesn't tell it in words. This fact is about the life we live, philosophy, viewpoint, deep emotion, and private psyche states. A rational mind can appreciate that all this can't be used in a tune within a happy response but very sporadically in a very narrow context that surely will go by very fast.

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Not conceptually planned music work, just interesting sound textures for the sake of sound art: experiments in sound manipulation (a scientific approach, new ways, new ideeas in exploring the sound). The result is the music within a spontaneous mood, sound "open" to listener's imagination.

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Pre-planned, conceived music work that all its aspects are contributing to a single, wider overall theme. It takes longer germination time, dedicated research on theme, more composing and arrangements are done to accomplish the final result. The music work for both sides of the brain. (The speakable and unspeakable.)

A work with a theme I consider to be a complete one reflecting me as a whole (both sides of the brain music work), and a work without a theme is just sound art itself and a spontaneous mood reflection (right side of the brain music work). Listener wise, the first is qvasi-open work, the later is a totally open work.

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