In The 1960s, People Were Trying To

The Micro-compositions Are The Pieces Themselves, But The Macro-composition Is The Whole Set Of Them And How It Moves From Track To Track And How The Titles Relate To One Another, For Example. Always When I Do Records Like This Of A Selection Of Instrumental Pieces - The Titles, To Me, Are Very Important.

When You Make Something You Are Always Offering Some Choices And Denying Others.

One Way Of Working Is Just Bring A Group Of Totally Different Musicians Together And Encourage Them To Stick To Their Guns, Not To Do The Thing That Normally Happens In A Working Situation Where Everyone Homogenizes And Concedes Certain Points - So Eventually They're All Playing In Roughly The Same Style. I Wanted Quite The Opposite Of That. I Wanted Them To Accent Their Styles, So That They Pulled Away. So There Would Be A Kind Of Space In The Middle Where I Could Operate, And Attempt To Make These Things Coalesce In Some Way. In Fact Quite A Lot Of My Stuff Has Arisen From That.

Attention Is What Creates Value. Artworks Are Made As Well By How People Interact With Them - And Therefore By What Quality Of Interaction They Can Inspire.

There Is A Sort Of Convergence Starting To Happen Between The Computer And Musical Instruments, But It's Still Quite A Long Way Off.