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We know in our hearts that technology at its best should make us feel even more human than we currently feel. Sometimes it makes us feel less human.

I wanted to take the power of thought and the word, along with the power of speaking and heart, and see if we could wire what was coming out of us as humans with electric instruments.

To make a computer do something that would take a human a long period of time was always interesting.

I remember feeling that technology was like trying to draw with your foot. In a ski boot. It was the most indirect way to work imaginable, but the potential had us all excited. I started in stop motion.

In this electronic age we see ourselves being translated more and more into the form of information, moving toward the technological extension of consciousness.

My goal for technology has always been to reach a point where the technological mediation becomes invisible.

The other thing I felt was that the philosophical concept behind the experiences also looked like it had been designed by technicians and not by entertainers. I felt I needed to grab hold of it and try and push the envelope as much as I possibly could right now.

I have always been far more interested in sound than technique, and how sounds work together, how they can be layered. I think electronic music, in its infancy anyway, allowed us to create music in a way that hadn't really been possible before. It created a new kind of musician.

I became convinced that the whole essence of the computer revolution is interactivity. That was very early in my career. At the time I did that it was heresy.