Try to make things that can become better in other people’s minds than they were in yours.

With devices my technique is always to hide the handbook in the drawer until I've played with it for a while. The handbook always tells you what it does, and you can be quite sure that if it's a complex device it can do at least fifteen other things that weren't predicted in the handbook, or that they didn't consider desirable. It's normally those other things that interest me.

I think most artists would be happy to have bigger audiences rather than smaller ones. It doesn't mean that they are going to change their work in order necessarily to get it, but they're happy if they do get it.

The reason I don't tour is that I don't know how to front a band. What would I do? I can't really play anything well enough to deal with that situation.

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

At the beginning of the 20th century, the ambition of the great painters was to make paintings that were like music, which was then considered as the noblest art.

I think, if you spend a day or - as many people do - a life working only with that aspect of your being, the cerebrum connected to a finger, I feel that the rest of you atrophies, essentially.