At the beginning I wasn't really rapping. I had poetry, so it was a spoken word vibe. Then I found beats that you could sing over - lo-fi, ambient stuff. So I was singing over them and trying to put things into practice.

I had a sense of debt to the medical profession and to surgery particularly. I would not be as ambient as I am without it.

I'd been making music that was intended to be like painting, in the sense that it's environmental, without the customary narrative and episodic quality that music normally has. I called this 'ambient music.' But at the same time I was trying to make visual art become more like music, in that it changed the way that music changes.

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.

Al?m disso, somos individualmente o produto de for?as que n?o escolhemos e que mal compreendemos. N?o escolhemos nossos pais nem a ?poca em que nascemos, e assim recebemos uma determinada heran?a gen?tica sobre a qual n?o temos controle algum, mas que, at? um ponto significante, tem controle sobre n?s. Essa heran?a determina, em parte, as doen?as a que somos suscet?veis e os limites de nossas capacidades intelectuais, atl?ticas e morais. Talvez n?o totalmente, mas o suficiente. Nascemos num ambiente que vai preencher o pouco espa?o que sobra do que foi determinado geneticamente, um ambiente que, novamente, n?o escolhemos e sobre o qual mal temos controle, pelo menos durante nossos anos de forma??o. A maneira como somos e aquilo que fazemos s?o resultados de nossos genes e nosso ambiente, que, juntos, exercem em n?s uma influ?ncia que compreendemos de forma bastante nebulosa. Era isso que os fil?sofos existencialistas, com Jean-Paul Sartre, por exemplo, queriam dizer quando afirmavam que somos jogados no mundo.

To me, at least in retrospect, the really interesting question is why dullness proves to be such a powerful impediment to attention. Why we recoil from the dull. Maybe it's because dullness is intrinsically painful; maybe that's where phrases like 'deadly dull' or 'excruciatingly dull' come from. But there might be more to it. Maybe dullness is associated with psychic pain because something that's dull or opaque fails to provide enough stimulation to distract people from some other, deeper type of pain that is always there, if only in an ambient, low-level way, and which most of us spend nearly all our time and energy trying to distract ourselves from feeling, or at least from feeling directly or with our full attention. Admittedly, the whole thing's pretty confusing, and hard to talk about abstractly?but surely something must lie behind not just Muzak in dull or tedious places any more but now also actual TV in waiting rooms, supermarkets' checkouts, airport gates, SUVs' backseats. Walkman, iPods, BlackBerries, cell phones that attach to your head. This terror of silence with nothing diverting to do. I can't think anyone really believes that today's so-called 'information society' is just about information. Everyone knows it's about something else, way down.

In England and Europe we have this huge music called ambient - ambient techno ambient house ambient hip-hop ambient this ambient that.

People do dismiss ambient music don't they? They call it 'easy listening ' as if to suggest that it should be hard to listen to.