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 Western musical canon came about not merely by accumulation, but by opposition and subversion, both to the ruling powers on whom composers depended for their livelihoods and to other musics.

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

Actually, most things I say in public lead more or less directly to my own compositional practice, so I should be careful about generalizing lest they come back to haunt me.

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.

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.

I don't like listening to my music, not even new pieces. Generally, they sound pretty much like I expected them to sound, so it's what I wanted, and that's it.