Sometimes something intrigues me about particular sounds, how they work together, and I think "Okay, I've found something here; I'm going to take it somewhere." And sometimes just to find a name for that sound, whatever it is, ends up becoming a title of the piece or becoming part of the title.

Since I have always preferred making plans to executing them, I have gravitated towards situations and systems that, once set into operation, could create music with little or no intervention on my part. That is to say, I tend towards the roles of planner and programmer, and then become an audience to the results

If you watch any good player, they're using different parts of their body and working with instruments that respond to those movements. They're moving in many dimensions at once.

The great benefit of computer sequencers is that they remove the issue of skill, and replace it with the issue of judgement

The seven white notes on the piano - each section of the piece (there are 12 sections) is five of those seven white notes. If you calculate it, there are 21 groups of five notes in any group of seven notes. And although there are 12 sections, this piece actually uses nine of those groups because some of the sections repeat earlier ones. So that's the formula. It's very simple as a way of generating something. It's my inner minimalist.

I set up situations that involve abandoning control and finding out what happens.

I think the idea that people walk around to music is very interesting. They are actually creating the soundtrack to their lives as they walk around to it.