All music has political dimensions because it suggests a way of being.

Art is not an object, but a trigger for experience.

You shoot your arrow and then you paint your bulls eye around it, and therefore you have hit the target dead centre.

If you think of the way a composer or say a pop arranger works - he has an idea and he writes it down, so there's one transmission loss. Then he gives the score to a group of musicians who interpret that, so there's another transmission loss. So he's involved with three information losses. Whereas what I nearly always do is work directly to the sound if it doesn't sound right. So there's a continuous loop going on.

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.

W]hat makes a work of art ‘good’ for you is not something that is already ‘inside’ it, but something that happens inside you.

People do dismiss ambient music, don't they? They call it 'easy listening,' as if to suggest that it should be hard to listen to.