The basis of computer work is predicated on the idea that only the brain makes decisions and only the index finger does the work.

I don't live in the past at all; I'm always wanting to do something new. I make a point of constantly trying to forget and get things out of my mind.

One of the interesting things about having little musical knowledge is that you generate surprising results sometimes; you move to places you wouldn't if you knew better.

It's not the destination that matters. It's the change of scene.

When our governments want to sell us a course of action, they do it by making sure it's the only thing on the agenda, the only thing everyone's talking about. And they pre-load the ensuing discussion with highly selected images, devious and prejudicial language, dubious linkages, weak or false 'intelligence' and selected 'leaks.'

I don't live in the past at all; I'm always wanting to do something new. I make a point of constantly trying to forget and get things out of my mind.

Democracy is a daring concept - a hope that we'll be best governed if all of us participate in the act of government. It is meant to be a conversation, a place where the intelligence and local knowledge of the electorate sums together to arrive at actions that reflect the participation of the largest possible number of people.

In the 1960s when the recording studio suddenly really took off as a tool, it was the kids from art school who knew how to use it, not the kids from music school. Music students were all stuck in the notion of music as performance, ephemeral. Whereas for art students, music as painting? They knew how to do that.

I trust my taste. I trust it completely and I always have done, and I've always thought it isn't that different from everybody else's.

When I first started making ambient music, I was setting up systems using synthesizers that generated pulses more or less randomly. The end result is a kind of music that continuously changes. Of course, until computers came along, all I could actually present of that work was a piece of its output.

The earliest paintings I loved were always the most non-referential paintings you can imagine, by painters such as Mondrian. I was thrilled by them because they didn't refer to anything else. They stood alone, and they were just charged magic objects that did not get their strength from being connected to anything else.