In this paper, the author describes the philosophical/psychological underpinnings and compositional approaches in his tape work Elektronikus Mozaïk (“electronic mosaic”) (1984). He discusses how he applied some basic assumptions about how music works from a listener's perspective to the structuring of work, with an emphasis on the dynamic relationship between music and listener. His concern is not with what he did to make the piece but what the piece of music does when it is ‘lived in'.
Architecture and Aesthetics: The Construction and the Objectives of Elektronikus Mozaïk
International Computer Music Conference : 199-206.