When I was working with Talking Heads what would happen typically is that they would go out and start playing a track, and I would always run the tape. I always record everything, even a run through where you're trying to get in tune. That's a principle because sometimes when the situation isn't clear interesting things happen, and they are worth listening to again.

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.

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.

Cultural objects have no notable identity outside of that which we confer upon them. Their value is entirely a product of the interaction that we have with them.

If I had a stock of fabulous sounds I would just always use them. I wouldn't bother to find new ones.

If you are part of a religion that very strongly insists that you believe then to decide not to do that is quite a big hurdle to jump over. You never forget the thought process you went through. It becomes part of your whole intellectual picture.

All cultures have these feelings about non-functional areas of activity. And the more time people have on their hands, the more they commit it to those areas.