The most important thing is the thing most easily forgotten.

The micro-compositions are the pieces themselves, but the macro-composition is the whole set of them and how it moves from track to track and how the titles relate to one another, for example. Always when I do records like this of a selection of instrumental pieces - the titles, to me, are very important.

The prospect of music being detachable from time and place meant that one could start to think of music as a part of one's furniture.

I wish there was a serious investigation into flying saucers that wasn't conducted by crackpots. Unfortunately nearly all of the people who are interested in them kind of manufacture the evidence to fit the theories rather than the other way around. So it's very hard to find any dispassionate treatment of them. Maybe there isn't any scientific basis in which case that's why you never see any scientific evidence.

Whatever you now find weird, ugly, uncomfortable and nasty about a new medium will surely become its signature... The excitement of grainy film, of bleached-out black and white, is the excitement of witnessing events too momentous for the medium assigned to record them.

Ambient Music must be able to accommodate many levels of listening attention without enforcing one in particular; it must be as ignorable as it is interesting.

The trouble begins with a design philosophy that equates 'more options' with 'greater freedom.'