Whenever there's a new music, there's a new way of listening. And whenever there's a new way of listening, there are new musics that follow from that. And people start listening differently - that can either mean in different places or at different volumes or in different social groups or through different technologies.

Repetition doesn't really exist

What happens with notation is that it reduces things to a language which isn't necessarily appropriate to them. In the same way that words do, you get a much cruder version of what was actually intended.

I think that's very significant that we're so attached to the idea now of - it was something I advocated for years, that you can make music in studios, music doesn't have to be made as a real-time experience. But now you see the results of that in people who are completely crippled unless they know that they have the possibility of "cut and paste" and "undo." And "undo" and "undo" and "undo" and "undo" and "undo" again.

Once music ceases to be ephemeral - always disappearing - and becomes instead material... it leaves the condition of traditional music and enters the condition of painting. It becomes a painting, existing as material in space, not immaterial in time.

Robert Fripp and I will be recording another LP very soon. It should be even more monotonous than the first one!

Good teachers realise that the students are the antenna; they are sensing things that the teachers don't yet sense.