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

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.

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.

I became aware that all sounds can make meaningful language.

In particular what is most important to me is the transformation of a sound by slowing it down, sometimes extremely, so that the inner of sound becomes a conceivable rhythm.

I no longer limit myself.

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.