"After a recommendation by my friend Yasunao Tone, I read Husserl’s ‘Phenomenology of Internal Time Consciousness’ and became interested in his uses of music to illustrate the relationship between past, present and future. Around the same time I came across the work of Slovakian mathematician Metod Saniga who deals with ‘psychopathological’ experiences of space and time. Saniga has developed a mathematical model which accommodates the feeling of time standing still, speeding up, going in reverse, infinity and other 'non-normal' encounters with time associated with drug use, near death experiences and neurological disorders.
Music composition is often thought of as the positioning of sounds in a temporal plane, and the vast majority music composition softwares follow this paradigm. It is also true of how music is recorded and distributed music on vinyl, tape, compact disc and mp3. The difference between these formats is usually described in terms of sound quality, but for me the most important difference is in their treatment of time - how they store and give access to temporal material. In the case of vinyl the observer can see directly where the needle is - there is no abstract representation of the needle's place in the duration of the piece - it is actually there. For me, the appeal of vinyl is not to do with warmth of sound quality, or its volatility, but in its ‘concrete’ treatment of time."