The basic idea of a hyper instrument is where the technology is built right into the instrument so that the instrument knows how its being played - literally what the expression is, what the meaning is, what the direction of the music is.

Perhaps 25 to 50 years from now, I can design a piece of music, no so that it appeals to something common in millions of people, but I can design the music so that it's exactly right for you and only you at this particular moment for your particular experience, things that have happened to you over 20 years, to you're particular mental state right now.

There were a lot of things happen in the mid-'80's that all of a sudden made it possible to do a lot of very quick interactive music.

My work on hyper instruments started with simple instruments, like the piano.

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

I think from age 13, 14, 15, I thought, yes, this rich studio produced music is the future, but it can't be the future to go run away into the recording studio. How can we take that kind of complexity and richness and make it possible for people to touch it and play it live. That's what hyperinstruments are.

You have to train your mind and your ears, but they're more like athletic skills. So, part of music you just have to learn those things or you can't practice the art.