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.

If nothing is at risk, nothing is established.

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.

Certainly being in California has encouraged a sustained commitment to rethinking the nature, purposes, and relevance of the contemporary arts, specifically music, for a society which by and large seems to manage quite well without them.

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.

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.