My sisters were going out with artists and poets, and eventually it was the creative world which attracted me.

So the ideology was that: use sounds as instruments, as sounds on tape, without the causality. It was no longer a clarinet or a spring or a piano, but a sound with a form, a development, a life of its own.

I probably went to musique concrete concerts - though not the very first ones - at the beginning of the 50s.

Boulez seemed to me to be a guy who wrote laws. Like a company lawyer.

With the piano I'm completely in control of the gestural situation-not that I'm going to play the piece myself, but I know what's difficult, what's impossible.

Electronic music used pure sounds, completely calibrated. You had to think digitally, as it were, in a way that allowed you to extend serial ideas into other parameters through technology.

I was born in Paris, and I haven't moved, except until now - I live in the suburbs and I hate it.