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.

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.

Hence my obstinate emphasis on stylistic continuity from work to work rather than specific sibling relationships between the individual work and other members of its stylistic 'family' in the world outside.

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

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.

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.

If nothing is at risk, nothing is established.