The very notion of aesthetic ideology suggests a choice in the matter - a composer stands at a certain point socially and historically, and within that constricted compass fashions a stance: his music is, on a certain level, a coded self-analysis - this is how I would like to be seen, thank you very much. Regrettably, the resulting tension between intention and result (the "piece") is only apparent to others, to the victims rather than the perpetrator. I mention all this by way of disclaimer: The Water's Fine (1983) was a quixotic attempt to circumvent this nexus, to present things as they were at the time rather than as I wanted them to be. Another way of describing this is to say that this music is an attempt at a description of the temporal structure of thought (as opposed to, say, the content of thought). It is dedicated to Dan Plonsey.