The City Is An Addictive Machine From

Escape From The Architecture Ghetto Is One Of The Major Drivers And Has Been From The Very Beginning.

The Thing Is That I Have A Really Intense, Almost Compulsive Need To Record. But It Doesn't End There, Because What I Record Is Somehow Transformed Into A Creative Thing. There Is A Continuity. Recording Is The Beginning Of A Conceptual Production. I Am Somehow Collapsing The Two - Recording And Producing - Into A Single Event.

Talk About Beauty And You Get Boring Answers, But Talk About Ugliness And Things Get Interesting.

Why I Talked About Political Correctness: The Colonial Is Now Such A Major Taboo That Any Achievement Of The Colonial Period, Or Any Generosity Implied In Colonialism, Is Again Fundamentally Neglected Or Fundamentally Not Recognised. That's Crazy, Because History Is A Series Of Layers, And You Cannot Say, "this Layer I Support And This Layer I Cancel." History Is History And You Cannot Retrospectively Manipulate It.

At That Time [90th In Lagos], If You Drove Through The City, You Drove Through A Foreground That Always Seemed To Be Incredibly Dramatic And Incredibly Agonised - Smoking, Burning, Incredible Compression. In The First Year We Stayed On The Ground And Went Everywhere. But Then In Order To Discover Whether This Was The Whole Story, We Rented A Helicopter. And We Began To Understand That This Is Not Chaos But A Highly Modern System That Had Been Abandoned, Then At Some Point Went Into Reversal, Then Slowly Came Out Of It.