One of my interests in music has always been what it means, why it affects us the way it does.

I think the seed was planted when I was a teenager, and it took me until I got out of Juilliard. At Juilliard I was just learning to be a composer, but I was also learning how to manipulate computers.

I think it's maybe because Sergeant Pepper's came out when I was about 13 or 14 and that was a pretty impressionable age, and it was such a kind of radical period. But that period of the Beatles really had a big influence on me and I think are directly related to hyperinstruments.

I went to the University of California, Santa Cruz for a year, which turned out to be a really vibrant, very intensive intellectual atmosphere where you could do a lot of aspect of music without it being a conservatory. And that's why I went there.

I think in many ways, the texture of technology actually diminishes human beings. It doesn't augment them.

A piano is a machine, but you've got ivory and there's weight behind the keys and you have this really - you feel the resonance in the instrument, you feel the vibration in the pedal. I mean, these a still very crude.

All the music we know that's popular is actually commonly shared music that takes things that are similar about all of us.