Music creates order out of chaos: for rhythm imposes unanimity upon the divergent, melody imposes continuity upon the disjointed, and harmony imposes compatibility upon the incongruous.

Now, I should like to say something else to you about the connection with music, primarily that of Bach, i.e. the Fugue or, put more simply, the canon.. .It has a great deal in common with my own motifs, which I make turn on various axes too. Nowadays I have such a powerful sense of relationship, of affinity, that when I am listening to Bach I frequently get inspired and feel an overwhelming instinct for his insistent rhythm, a cadence seeking something of the infinite. In the Fugue everything is based on a single motif, often consisting of just a few notes. In my work, too, everything revolves around a single closed contour..

Already at the age of 21 I played the complete organ works of Bach - and this by memory. As a child and youngster I had been taught by one of the last master-students of the legendary Helmut Walcha, and I completely had been affected by this style of insight into Bach and the internal structures. This method of regarding the independent coherence of all the voices gave me a special comprehension of Bach and his philosophy. Lastly one can say that I have been growing up with Bach, even to this day. If you understand the free organ works (preludes, toccatas, fugues), the chorales, and especially the trio sonatas, you have an insight into Bach that others don’t have. Especially the soloistic and independent leadings of the three voices of the trio sonatas is artistically the major aim of an organist; and already the Orgelbüchlein, the part 5 of the Peters Edition, shows Bach in all his structural and emotional effects. Albert Schweitzer described the Orgelbüchlein as something where the tonal speech of Bach is unbeatable. The comprehension of the organ-Bach is an understanding of the counterpoint and the polyphonic structures, and the coherence of Bach himself.

Chaos provides order. Chaotic agitation and motion are needed to create overall, repetitive order. This ‘order through fluctuations’ keeps dynamic markets stable and evolutionary processes robust. In essence, chaos is a phase transition that gives spontaneous energy the means to achieve repetitive and structural order.

"I began to imagine orchestration where before I heard only the cacophony of randomness. Crazy people do that all the time, unless you buy into the notion that we have the ability to perceive order and connotation in ways closed off to the minds of "sane" people. I don't. Subscribe to that notion, I mean. We are not gifted. We are not magical. We are slightly or profoundly broken."

Music, to create harmony, must investigate discord.

Bach really cannot be seen, understood, and interpreted from an isolated point. Bach has to be explored as part of something complete, unique, of an universe - an aspect of human reality.

To find order in chaos - why, of course; that was what he'd wanted all his life. He had been born for this, for finding order in chaos, and all the wasted years has been a mistake. To find order in chaos; to find order in chaos.

I found this to be a way that works for me--placing myself at the centre, keeping characters and ideas close, and from the centre reaching to the outer circles, in any direction, for what I need in order to bring everything together. (chapter 18, p189)

We call interconnected order beautiful. When interrupted, we call it chaos.

I was reading of chaos that contained order; of information as the primal, creative force; of systems that, by design, fell apart so they could renew themselves; and of invisible forces that structured space and held complex things together. These were compelling, evocative ideas, and they gave me hope, even if they did not reveal immediate solutions.

The order I found was the order of disorder

Chaos is the score upon which reality is written.

Something appears midway between order and chaos, these forms, these expressions occupy a middle position.