When I speak of "cycles," I am referring to lengthy intervals of relative homogeneity, if not in the resolving of problems, than at least with respect to the consistency of their capacity to productively irritate.

This was possible only by dint of extended periods of frequently quite painful reflection and digestion.

Composers dialogue - and obsessively, bitterly argue - with other composers, often over the span of several centuries.

In any case, the fewer boundaries that exist hindering free movement between all forms of articulate human cognition, the better.

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.

When I speak of "cycles," I am referring to lengthy intervals of relative homogeneity, if not in the resolving of problems, than at least with respect to the consistency of their capacity to productively irritate.

Questioning the nature and implications of liminal instances necessarily involves failure, if only in the specifically technical sense of entering spaces where prevailing criteria of success scarcely apply.