One way of working is just bring a group of totally different musicians together and encourage them to stick to their guns, not to do the thing that normally happens in a working situation where everyone homogenizes and concedes certain points - so eventually they're all playing in roughly the same style. I wanted quite the opposite of that. I wanted them to accent their styles, so that they pulled away. So there would be a kind of space in the middle where I could operate, and attempt to make these things coalesce in some way. In fact quite a lot of my stuff has arisen from that.

I had wanted a tape recorder since I was tiny. I thought it was a magic thing. I never got one until just before I went to art school.

I'm kind of an evangelical atheist.

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.

In the wake of the events of 11 September 2001, it now seems clear that the shock of the attacks was exploited in America.

Emotion creates reality, reality demands action.

The computer brings out the worst in some people.