I Take Sounds And Change Them Into

The Whole Point Of Art, As Far As I’m Concerned, Is That Art Doesn’t Make Any Difference. And That’s Why It’s Important. Take Film: You Can Have Quite Extreme Emotional Experiences Watching A Movie, But They Stop As Soon As You Walk Out Of The Cinema. You Can See People Being Hurt, But Even Though You Feel Those Things Strongly, You Know They’re Not Real.

Once I Started Working With Generative Music In The 1970s, I Was Flirting With Ideas Of Making A Kind Of Endless Music - Not Like A Record That You'd Put On, Which Would Play For A While And Finish.

Saying That Cultural Objects Have Value Is Like Saying That Telephones Have Conversations.

The Thing That Obsesses Me More Than Anything Is Waste - The Waste Of Human Intelligence And Creativity.

Another Way Of Working Is Setting Deliberate Constraints That Aren't Musical Ones - Like Saying, "well, This Piece Is Going To Be Three Minutes And Nineteen Seconds Long And It's Going To Have Changes Here, Here And Here, And There's Going To Be A Convolution Of Events Here, And There's Going To Be A Very Fast Rhythm Here With A Very Slow Moving Part Over The Top Of It." Those Are The Sort Of Visual Ideas That I Can Draw Out On Graph Paper. I've Done A Lot Of Film Music This Way.