Colin Marshall sits down in a Wallace Neff dome in Pasadena with visual and sound artist Steve Roden. They discuss whether art can exist without constraints; his enthusiasm for "dumb ideas," such as painting with his mouth; the influence of Buckminster Fuller's Operating Manual for Spaceship Earth, which he found in a gutter as a kid; the inspiration a Jimi Hendrix impersonator gave him, and how he went on to enter the Los Angeles punk scene of the late seventies and early eighties; his punk band's catalog, including such songs as "Kill Reagan" and "Jesus Needs a Haircut"; his skill set consisting primarily of patience and the ability to evolve slowly; working in forms that admit the most failure, and thus produce the most interestingness; the days when he would hang out at the Westwood Tower Records until midnight, and the clerk that gave him an all-important copy of Brian Eno's Another Green World; the beauty of playing an instrument you know nothing about, and of other ideas born of incomplete information; his involvement with languages he doesn't speak, including researching Walter Benjamin without German, studying in Paris without French, and translating Swedish poetry without Swedish; finding the unknown in Los Angeles, and what it means to be able to traverse the city with ease or difficulty; the importance of maintaining a one-man practice; and his uncommonly fruitful experiences reading liner notes.