I hope I have trodden as carefully through the construction of this product as the project itself, respectfully, as a guest, or an observer, at an antique auction, a crockery lake or glasshouse pavilion: seashells and chandeliers, a precursor before a public exhibition. Still, I am afraid that, as a disturbance is an interruption, it is also a transpose of ripples and reverberation vitrified by uttered progression from stock-still to minuscule movement or rearrangement.