Daryl: What was the working process and relationship with Per Inge Bjørlo? How did his creative practice influence your approach to the project and your own creative output?

Richard: The process took the form of various meetings over the course of two years or so, in various places including the CERN particle-physics institute in Geneva, where we spent two days as «tourists» in the labs and the underground particle accelerator. By that time, we had already made the gradual transition between conceptual discussions and concrete ideas regarding the music, the installation and the relationship between the two. Actual materials were also exchanged -- I would send Per Inge occasional CDs with fragments of the electronic components I was working on, and he would come along with some of his own components, like the glass blocks which occur frequently in the DARK MATTER installation and which are also incorporated into the percussion instrumentation. Over and above that, though, we quickly developed a more intuitive understanding of each other's work, so that when we were each working alone, which of course was the majority of the time, we would have a fairly clear image of the directions the collaborative work was taking. I don't really know how this developed, though. Maybe it's either there from the start, or it will never be there.