I got interested in the idea of music that could make itself, in a sense, in the mid 1960s really, when I first heard composers like Terry Riley, and when I first started playing with tape recorders.
Software options proliferate extremely easily - too easily, in fact - because too many options create tools that can't ever be used intuitively. Intuitive actions confine the detail work to a dedicated part of the brain, leaving the rest of one's mind free to respond with attention and sensitivity to the changing texture of the moment.
I think one of my pursuits over the years is trying to answer the question of, 'What else can you do with a voice other than stand in front of a microphone and sing?'
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.