There would seem to be a limit, even for an art preoccupied with boundaries and transgressions, beyond which a work reaches its breaking point and becomes an actual failure, a mere experimentation.

The idea of 'machine assemblage' is, especially, very alien to my sensibility, since it suggests a relative indifference of the strata to one another during the process of construction.

Naturally enough, I couldn't have foreseen the vast sea change which has come upon that scene as a result of German reunification and associated events.

In my model, important interference phenomena arise when individual strata come into contact. These chaotic fluctuations are, I suppose, what my music is really about.

I would not say that I was, these days, a 'student' of philosophy, although in my youth I was quite deeply involved with certain aspects of the British pragmatists.

The past nine years in San Diego have represented such a period of questioning.

Certainly being in California has encouraged a sustained commitment to rethinking the nature, purposes, and relevance of the contemporary arts, specifically music, for a society which by and large seems to manage quite well without them.