"I am following three paths in my work. First is a long-term project to define musical form in terms of procedures, rather than results. This thinking draws heavily on metaphors with the natural world. Consider, for example, a peculiar rock formation. To describe its current form is trivial. An illuminating description would focus instead on the geological procedures that produced it. There are some obvious advantages to working on that level. Procedures are abstract, and as such extensible, scalable and consistent. Most important for me, however, is that by standing farther back, I have more leverage over the unknown. I write things I never would have imagined thinking note-to-note. And so my relationship to my work is not as a master imposing his masterpiece, but a gardener sprouting an unidentifiable plant. This suits me better. See Endgame Study, 0/1, Parable of the Sower, Ouroboros, Orgins Etudes.

"The second path extends from the social power of music. I grew up in a town where everybody plays guitar and writes songs. Making music was part of every party, our afternoons at the creek; we developed a canon of work we shared; we made records in our bedrooms and listened as much to each others' work as commercial music. Music was rarely thought of as performance -- singer vs. audience in an official venue, advertised etc. In a culture where free time is increasingly entrusted to prepackaged leisure, it was a way for us to spend time together off the grid, on our own terms. Different values shape this type of music. It is simple and generous, modest in its attempt, easily shared and remembered. I am farthest from this music now, but need it the most.

"The third path is toward music as my own church without words. As an experience that resists my understanding, my impatience, my judgment and desire, it is precious to me -- those parts of me are used to being indulged, and appreciate some peace." See Parable of the Sower, O.