00:00 - 04:15 | Introduction 'There should be another temporality. This is in fact my understanding of musical form and poetic form as well. It presents possibilities for these other temporalities. Not even as solutions, because it lasts only as long as the poem lasts. It lasts only as long as the piece of music lasts. Which could be extremely long, if you think of examples such as La Monte Young, who lives amongst his own works. So he has this trick to achieve paradise, I guess. At least these musical structures can give you, if anything, micromodels for other times.'
04:15 - 22:45 | On Rob Halpern 'The idea of the location of hope reminded me of the first book of poems by a poet I have a close connection to, Rob Halpern. The book is called Rumored Place. This is one way to think about the location of hope, as a place that you only hear of through rumours. Of course, rumours are sounds, so that's immediately interesting for a musician. There is a kind of suggestion in the sounds of rumours that there is this other place. You can never know where this other place is. And as a result, Rob is extremely interested in questions of time. For him, the important time that many of his poems are written in, is the future perfect. It will have been. It will have been this. The way I understand that is that pointing to the future and to the past, which is what that tense is doing, points you this rumored place that is an alternative to the presence. The poem gives you hints about that other place that might lead you to the future. And thus it might give you a sense that the present you're in might not necessarily be 'the' present that you're stuck in.'
22:45 - 41:15 | On The Chord Catalogue 'What you get in the end is not merely every single chord. That's of course materially what it consists of. But there are all kinds of rhythmic patterns that come out, melodic patterns that seem to repeat but never quite repeat. And what is really important is the physicality of playing. So you have structure, a very dry, boring structure and it somehow generates this whole other world of things that you can experience.'
41:15 - 1:00:00 | On Toccata III for 2 Glockenspiels 'At the end of 2001, I caught a glimpse of an echo in time. I don't mean a memory flasback or a reflection in the now of something that had happened before, but I could see the shade of a movement that was able to exist in several moments at once, that could let two points in time echo one another, without one point having to precede the other. That is not how we usually experience time.'
1:00:00 - 1:20:20 | On John Cage's Number Pieces
'Even though the notes themselves are fixed, this does allow for an enormous variety in musical shapes and gestures. Nothing is left indeterminate in this music, except for the articulation of action in time. It is a compositional technique that seems to occupy a very strange temporality at the intersection of clock time and action time. The notation here defines a grammar of possible action, a set of rules which shape the space of potential musical expression. (..) This combination of time types give the Number Pieces their highly mysterious quality, which is one of blurring time itself. It is as if Cage had found ways in which to inject another kind of time within clock time, opening up the fabric of strictly measured time to indecidability.'