I'm there to make a kind of theatrical music that is desperately missing in my life. And if other people don't like it, I'm very unhappy, but I can't do anything about that.

As I told you, from the time I was fifteen, I thought the theater was too much involved with actors trying to make the audience love them, being over emotional.

Which implies that the real issue in art is the audience's response. Now I claim that when I make things, I don't care about the audience's response, I'm making them for myself. But I'm making them for myself as audience, because I want to wake myself up.

I see within us all (myself included) the replacement of complex inner density with a new kind of self—evolving under the pressure of information overload and the technology of the ‘instantly available’.

Everything Brecht wrote—plays, dialogues, and poetry—was his attempt to clarify the inner contradictions not only of the capitalism and fascism of his times, but also of the communism that was always disappointing his deepest hopes. In a book that makes Brecht’s struggle to reveal these hidden contradictions its central theme, Glahn issues, by implication, a call to arms to today’s artists—who are faced with a world that seems to defy attempts to treat the global crisis with an art that is rarely more than notes on ‘local’ angst.

Understand--it ALWAYS makes sense. Sense can't be avoided. If it first seems to be non-sense, wait: roots will reveal themselves.