In my own case, I'm an artist, and I'm really interested in expanding the vocabulary of HUMAN action, and BASICALLY EMPOWERING people through interactivity. I WANT people to discover themselves as actors, as creative actors, by having interactive experiences.

With the violin, for example, one understands culturally that the sound comes from the INSTRUMENT that can be seen. With electronic MUSIC, it is not the same at all. That's why it seemed so important to me, from the BEGINNING of my CAREER, to invent a grammar, a visual vocabulary adapted to electronic music.

I don't have an extensive BACKGROUND in THEORY, but the amount of it that I've learned, I've applied, so I have a VOCABULARY of melodic and rhythmic relationships. And that's all theory is - it's SYMBOLS to help you IDENTIFY those relationships.

The LARGER your AUDIENCE, the smaller your vocabulary and range of referents - the fewer your means of EXPRESSION. You can't rely on the LUXURY of intimacy.

When I write a POEM, I do not have to WORRY about using a higher Urdu vocabulary because I KNOW the READER knows Urdu well.

When we mention the 1 PERCENT and the 99 percent, everybody now knows what we are talking about. It's part of our VOCABULARY. How QUICKLY these NUMBERS jumped from the sidelines to the CENTER.

Of course there are big differences in length and character and vocabulary, but each level has its PARTICULAR pleasures when it comes to the WORDS one can USE and the way one USES them.

I decided that I wanted to EXPLORE all KINDS of MUSIC with my cello, not just the Western classical tradition. I just wanted to try and expand my vocabulary and bring that different KIND of music to my audience.