“During the first years of my compositional research, my goal was to mark
out, in my music, the flux of the psychic energy at work in the
unconscious and its underlying structure. At the time, I was going
through an analytical process favouring access to this unconscious
activity, and my readings in the field of psychoanalysis were helping me
in the effort to elaborate a musical thinking likely to account for
this psychic complexity, which only appears through unintentional acts
and words, or in fantasies and dreams.
A whole structural and
formal model for a potential music was emerging then, since only the
plasticity of the world of sound seemed to be able to suggest this
mobility and instability, which endlessly alter the configurations of
the components of the unconscious.”