It was on Long John's show that I heard Orfeo Angelucci being interviewed. In other words, the whole thing about the green globes on the top of a car bumper and the voice coming out, you know, and then this beautiful lady.... So he went through the whole number, what you read in his book, that kind of stuff. A whole raft of things.

I first heard of [Orfeo Angelucci] from Giuseppe Conti who gave me some books by him.

Look at all the stuff the Existentialists did. You can start with [Pablo] Picasso, you know, and then Francis Bacon and other guys like that. What they were doing is depicting suffering. And that's exactly what a demon is, he's pretending that he isn't. So he can get more people down there. You know, misery loves company, that's the whole thing. So that's basically the pitch that I'm working on.

I was always doing paintings. I actually started painting with oil paints when I was four years old. Not crayons, not pencils and that kid of stuff. I'd paint birds. Anything that moved, stuff like that.

Any sort of working drawings are simply diagrams. Architecture encourages your imagination to work that way.

[My father] had this quirky thing of not believing in gravity. And giving me a constant headache about that one. He would say if I showed any interest in gravity, I was becoming a dupe of the system. He could see indications I was beginning to believe in it.

The main thesis of mind-physics holds that consciousness and matter are both manifestations of a more primary entity, and that the processes of manifestation exhibit equivalent invariances for both consciousness and matter. When the program for mind-physics is complete the subject-object dichotomy of modal logic, the polarity of concept-percept, and the antagonism between morality and technology will all come to an end. Then the non-repeatable experiment will be understood to be more primary than the traditional repeatable experiment.