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.

If the work of art is to continue pursuing the vision of both being in and of the world but nevertheless in some fashion being more than just one more object to the mounting clutter, this is the specific point, I think, where this must be assured.

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.

By reason of weird translation, many such sets of instructions read like poems anyhow.

In my own recent String Trio I attempt to superimpose two quite different sets of formal strategies, both of which, ultimately, refer back to historical precedent.

As a necessary prerequisite to the creation of new forms of expression one might, I suppose, argue that current sensibilities respond uniquely to the notion of exhaustion as exhaustion, although that does de facto seem rather limiting.

So: we're all tired. Now what? Manuscripts written in Club Med?