Craig Wells describes his project:
As we think through and from listening, sound opens pathways of resonance and remembrance, evoking dislocated sites and happenstance, incidents both witnessed and unnoticed. Listening is socially composite.
Sound spills between neighbouring spaces, a gathering machine that traverses disengaged moments, startling and awakening the lulled.

In this sense, listening is not an act or a passive consumption that hinges on an extraction from reality, rather it is a performative engagement. Sound does not belong to anything but itself, it confronts itself through the veil of a devised temporal self (the listening body). As listening is activated and reaches out to orientate the temporal self, sound creates a larval self in the making, one that is impulsive and implied, one that does not subjugate but is rather liminal and hinged on the next event, pure facticity, towards an unadulterated thrownness. Sounds switch channels with other sounds and suggest forms that are not always present, bestowing ghost forms or what I term ambient semblance.

The soundscape is composed of redolent themes at the fringes of becoming, a gene pool of audibility where sounds fight it out to be heard; mask one another or support one another. Sound creates a more extensive multiplicity of novel forms than vision ever could because distinct physical objects cannot occupy the same space, they are bound by distance. In contrast, sound collapses both succession and coexistence into instances. Objects and vision give rise to a linearity of thought that sound can unnerve and dislodge. 

Lydgalleriet is an exhibition platform for sound art and sound related art practices, situated in Bergen; Strandgaten 195.

Read more about "The wind cannot hear me" on their webpage.