So, why don't I do like the others do? Why don't I use a notebook? Why do I have so little interest in sound synthesis, software and the latest beats? Why so little ambition to join the school of blip and crackle electronics, and why am I still working with loops? Probably because I am lazy, in similar sense that Raymond Scott was lazy, spending twenty years to construct his studio in order finally to be able to compose by simply pushing a button. Since I am not a software programmer, I prefer to take existing programs as given and to waste my time by developing systematic strategies for their use, as a kind of a virtual meta-software. This is what was originally meant by the name 'Pickadelic', which in the meantime has become common also as my artist's name. Once the meta-program is started, I try to sail with the wind of its proper logic and tend to minimize my own arbitrary interventions. My peculiar position concerning these things may be connected to the fact that I grew up without TV. Unconscious habits of perception that are missing; instead I was later deeply impressed by the French Nouvelle Vague cinema. Godard and the potential of the then new hand held 16mm camera to undermine the stylistic dictatorship of the major film industry: it was the blurring of the boundaries between script and improvisation, mis en scène and documentary that stimulated my senses to the maximum- and also the association that a sampler may be the musical counterpart to this. And the loop? For me it's the basic formal element of technologically (re)produced music, that has the esthetic advantage of clearly exhibiting the means of technological intervention. But the reason and end of repetition can - apart from torture - be only rhythm. The fact that the art of repetitive rhythm comes mainly from Africa is an historical coincidence that I like very much. From my perspective, to tap the transatlantic stream of rhythm flowing from jazz, rhythm&blues, funk, reggae, Cuban and Brazilian music as directly as possible through technological means is perhaps a more authentic way of appropriation than simply learning to play it. But Pickadelic means more. The only thing that seems greater to me than music itself is its multiplication: the mixing, when musical fragments start to communicate, opening up polytonal spaces and emitting mysterious clouds of overtones that stimulate the imagination. It is precisely this imagination that gives rise to subsequent sonic elements until the game is complete. Perhaps my main motivation for producing is to cultivate this as an art form -the word 'art' in this context refers to the parts of the project that transcend the current meaning of the term electronic music- and also as a legitimate sub-genre of electronic music.