Like this music, it is a process with neither beginning nor end and it requires always something else as a prop. Like Feldman's music thought creeps up without our being aware of the full extent of its presence. It is sidelong and can just as well be provoked by being underwhelmed as it can by being overwhelmed. Such an interactivity multiplies the props, and doesn't so much present us with a readymade thought but gives us a raw material, something unformed and error-ridden, with which to work. Any comment evoked by this music may lie in the direction of thought being a kind of surplus and, just as in Feldman's indeterminate scores that leave room for a performer interpretation of pitch and accent, this surplus is what is extra to that which is already familiar and received.
Thought is also mistaken, unfinished.
It is the most important flaw.