I think I came across Cecil Taylor a bit later, in 65 or 66. That really impressed me - Cecil Taylor is an amazing character... Both his music and the way he approaches the instrument are astonishing.

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.

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

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

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.

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

I have problems with machines which aren't gestural.