 Sometimes one can be so closely involved with things that the larger context is lost to view. |
| What makes a specific quality or quantity of innovation retain its intense newness over the years? |
| The past nine years in San Diego have represented such a period of questioning. |
| Hence my obstinate emphasis on stylistic continuity from work to work rather than specific sibling relationships between the individual work and other members of its stylistic 'family' in the world outside. |
| The idea of 'machine assemblage' is, especially, very alien to my sensibility, since it suggests a relative indifference of the strata to one another during the process of construction. |
| With respect to the respective French and German traditions you are no doubt correct, although I am reluctant to see individual achievement reduced to archetypes. |
| It is still true that it is easier to compose a poem in the form of a manual for adjusting a VCR than it is to write a piece using just tuning as a symphony. |
| Questioning the nature and implications of liminal instances necessarily involves failure, if only in the specifically technical sense of entering spaces where prevailing criteria of success scarcely apply. |
| This was possible only by dint of extended periods of frequently quite painful reflection and digestion. |
| I'm perplexed, though, by your application of the term 'negative' to my figural imagery. |
| In any case, the fewer boundaries that exist hindering free movement between all forms of articulate human cognition, the better. |
| I don't see 'lines of force' as being destructive, except to the extent that they are exclusively traceable through observance of the path of distorted material left in their wake. |
| I suppose that the scope and implications of such forces have rendered my personal accounting ritual pretty much obsolete. That's how things sometimes go. |
| Composers dialogue - and obsessively, bitterly argue - with other composers, often over the span of several centuries. |
