And I'm always interested when other musicians are trying to discover new worlds of sound.

When a certain piece of music penetrates a person, a resonance is set in motion and an inner voice says: "I like this resonance. It elevates me. It develops hitherto unknown possibilities in me. I don't recognize myself. This is very interesting.

Repetition is based on body rhythms, so we identify with the heartbeat, or with walking, or with breathing.

No, what is important is neither linearity or non-linearity, but the change, the degree of change from something that doesn't move to other events with different tempos in particular.

Or the other process that is important is that I compress longer sections of composed music, either found or made by myself, to such an extent that the rhythm becomes a timbre, and formal subdivisions become rhythm.

Or in other works I have also projected the sound in a cube of loudspeakers. The sound can move vertically and diagonally at all speeds around the public.

Whenever I felt happy about having discovered something, the first encounter, not only with the public, with other musicians, with specialists, etc, was that they rejected it.