I experience a heightened sense of awareness, but that awareness is not of my playing, it is my playing. Just as with speech or song, the performance embodies both intentionality and feeling. But the intention is carried forward in the activity itself, it does not consist in an internal mental representation formed in advance and lined up for instrumentally assisted, bodily execution. And the feeling, likewise, is not an index of some inner, emotional state, for it inheres in my very gestures.

If we want to know what words like nature and technology mean, then rather than seeking some delimited set of phenomena in the world – as though one could point to them and say “There, that's nature!” or “that's technology!” – we should be trying to discover what sorts of claims are being made with these words, and whether they are justified. In the history of modern thought these claims have been concerned, above all, with the ultimate supremacy of human reason.

I bring down my finger onto the Q and turn the knob down with a whole arm twist which I continue into a whole body turn as I disengage from both knob and key. SOH brings in a low quiet sound precisely as I find myself turned to face him. We are in the valley before the finale. I turn back to the synthesiser front panel and gradually swell sound Q into the intense texture it is required to be. […]