Art Is Not An Object,

I'm Fascinated By Musicians Who Don't Completely Understand Their Territory; That's When You Do Your Best Work.

Possessions Are A Way Of Turning Money Into Problems.

There Are Certain Sounds That I've Found Work Well In Nearly Any Context. Their Function Is Not So Much Musical As Spatial: They Define The Edges Of The Territory Of The Music.

Another Way Of Working Is Setting Deliberate Constraints That Aren't Musical Ones - Like Saying, "well, This Piece Is Going To Be Three Minutes And Nineteen Seconds Long And It's Going To Have Changes Here, Here And Here, And There's Going To Be A Convolution Of Events Here, And There's Going To Be A Very Fast Rhythm Here With A Very Slow Moving Part Over The Top Of It." Those Are The Sort Of Visual Ideas That I Can Draw Out On Graph Paper. I've Done A Lot Of Film Music This Way.

Once I Started Working With Generative Music In The 1970s, I Was Flirting With Ideas Of Making A Kind Of Endless Music - Not Like A Record That You'd Put On, Which Would Play For A While And Finish.