In sound design programs now, you can literally sculpt the sound on visual graphs. Sometimes the visual programs are even more interesting than the music that’s making them.

The idea of a 'happening' is that there is little distance between the viewer and it, whatever 'it' is. It's an experience that's on-going and evolving.

I don't really care about interruptions. I accept technology, and I don't turn things off. I've found a peace with fragmentation and a harmony with switching gears quickly to other things.

I think about museums often. There are things that I want museums to do that they often don't. For me, I like it when there's a system within the museum that can continuously change - whether it's a museum that is nomadic or one that's designed so the building can shape-shift. I like restless spaces, and I want to be engaged.

In our daily lives, we see ourselves often in very reductive ways. I want to explore motion, change and flux, whether we are looking in the mirror or seeing ourselves in our surroundings. The singular view of self contradicts the act of living.

I'm really pleased to share the 'Station to Station' film. It has a very unorthodox structure; it's made up of separate one-minute films. So you watch this piece that is like time moving. Everything is democratised, whether it's a minute of Patti Smith or a single landscape with a drone, it's this amazing modern kaleidoscope.

I'm not a journalist; I'm probably a horrible interviewer. The one small thing I have is I'm curious, and I'm interested in who I'm with.

I'm really a believer in being in situations that feel new and awkward and different. And I love that feeling of being in motion - that sense you find when you're traveling.

It's very easy to lose track of the environment around you, to lose touch with the present.

Art is always a search for understanding, and the different levels and frequencies of that search feel completely comfortable and natural to me.