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.

Music is mathematics, the mathematics of listening, mathematics for the ears.

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.

I have composed several pieces which are performed outdoors, not only in the auditoria.

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.

Since I started composing I have always worked with series of tempos, even superimposed the music of different groups of musicians, of singers, instrumentalists who play and sing in different tempos simultaneously and then meet every now and then in the same tempo.