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.

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.

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.

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.

It is still true that it is easier to compose a poem in the form of a manual for adjusting a VCR than it is to write a piece using just tuning as a symphony.

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.

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