And essentially the idea there is that one is making a kind of music in the way that one might make a garden. One is carefully constructing seeds, or finding seeds, carefully planting them and then letting them have their life.
What this means, really, is a rethinking of one’s own position as a creator. You stop thinking of yourself as me, the controller, you the audience, and you start thinking of all of us as the audience, all of us as people enjoying the garden together. Gardener included.
The thing from the agency said, "We want a piece of music that is inspiring, universal, blah- blah, da-da-da, optimistic, futuristic, sentimental, emotional," this whole list of adjectives, and then at the bottom it said "and it must be 3 1/4 seconds long."
I thought this was so funny and an amazing thought to actually try to make a little piece of music. It's like making a tiny little jewel.
In fact, I made 84 pieces. I got completely into this world of tiny, tiny little pieces of music. I was so sensitive to microseconds at the end of this that it really broke a logjam in my own work. Then when I'd finished that and I went back to working with pieces that were like three minutes long, it seemed like oceans of time.
There is increasing concern that most current published research findings are false. The probability that a research claim is true may depend on study power and bias, the number of other studies on the same question, and, importantly, the ratio of true to no relationships among the relationships probed in each scientific field. In this framework, a research finding is less likely to be true when the studies conducted in a field are smaller; when effect sizes are smaller; when there is a greater number and lesser preselection of tested relationships; where there is greater flexibility in designs, definitions, outcomes, and analytical modes; when there is greater financial and other interest and prejudice; and when more teams are involved in a scientific field in chase of statistical significance.