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.

I became aware that all sounds can make meaningful language.

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.

But since the middle of the century in particular, the music has become very irregular in rhythm.

And I'll never forget the first time I took the possibility to project sound every day for six or seven hours with special devices which were built for me.

So there is a personal sense of style for a given work - I don't like a general style, but every work has its own style, and I want to create a style for every work.