My music is always called "cerebral." It is a way of saying I'm Asian, and therefore everything I do is brainy.

The thing about physicists is that they tend to think that everything is physics. I don't. That's not what music is to me. You can explain aspects of it in physical terms, including the physics of anatomy: how our bodies move, the torsional moment of inertia, the way you move your body to a beat, the inherent periodicities of the heartbeat, the gait. That's physics, too, I guess - maybe they'd call it biophysics.

It is one thing to be a virtuoso, but a different thing to play with compassion.

You figure out how to create opportunities to make music, and then, if you take care of the music, audiences will come around. They also might leave. What matters is the moment: the moment of making music, with and for and among others, and what that offers to those people in that moment. They might never see me again; they might never learn my name. But it might still be something they carry with them.

My music is always called "cerebral." It is a way of saying I'm Asian, and therefore everything I do is brainy.

I like the idea of the objecthood of music being destabilized by process and things like improvisation. That's what empowers us; that's how we make each day new as players, as people.

To interact means being among others, and taking others into account in a way, to act.