Quote

The vast material displacements the machine has made in our physical environment are perhaps in the long run less important than its spiritual contributions to our culture.

To boast of a performance which I cannot beat is merely stupid vanity. And if I can beat it that means there is nothing special about it. What has passed is already finished with. What I find more interesting is what is still to come.

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.

The thing about performance, even if it's only an illusion, is that it is a celebration of the fact that we do contain within ourselves infinite possibilities.

As musicians and artists, it's important we have an environment - and I guess when I say environment, I really mean the industry, that really nurtures these gifts. Oftentimes, the machine can overlook the need to take care of the people who produce the sounds that have a lot to do with the health and well-being of society.

The universe begins to look more like a great thought than a great machine.

Even in making objects, as soon as you start to get the feeling that some form of craft is coming into place, you realize that everything is wrong. Because craft is really just a fetish. It is wasted energy. It's about the object, some space which has nothing to do with the human.

I think what made it difficult for people to get, and still makes it difficult for people to get, is the theatrical nature of the work and the fact that, my music doesn't exist without the performance-art element.

I think about that 'empty' space a lot. That emptiness is what allows for something to actually evolve in a natural way. I've had to learn that over the years - because one of the traps of being an artist is to always want to be creating, always wanting to produce.