We think about sitting in a space and hearing some music by having our ears pointed forward towards the musicians sitting opposite us. I'm really not following that paradigm at all.

Working in theoretical systems can take away the juice. It can also be very beautiful, but when you're trying to satisfy a theoretical principle rather than a sonic reality, then it can become dry.

In the beginning we were making tape music, meaning, we were making music on tape.

Those people who don't have any voluntary control, or hands, can work with the physical movement that they can do - whatever voluntary movement they have, even the slightest .

I noticed you could monitor the recording that you're making, but you could also monitor the playback head. There's a little distance between them and so you get an echo, right? If you change the amplitude of, say, the playback and play with that, you get different qualities and different sounds. So I was very interested in that phenomenon.

A mouse and a keyboard is not a good performance instrument.

Radio broadcasting was only 25 years old when I was born in 1932.