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 had grown up and gone to high school in New York, so I wanted to get out of the east coast.

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.

There's just an incredibly rich and interesting relationship between our listening to music and the way our minds engage.

I'd studied piano first and switched over to cello when I was about seven. I played mostly chamber and solo classical music. I got really involved with rock music when I was a teenager. I wired up my cello.

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

The one obvious thing is that the devices are so good now that you can also see their limitations extremely well.