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.

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.

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.

I wanted to play piano, and that slid quickly into writing - it wasn't enough to play other people's notes: I had to write notes too.

Whereas Schaeffer and Henry were working like samplers, their idea was to capture those sounds which couldn't be serially calibrated because they were too complex in character.