I was pillaging a lot of music that had nothing to do with guitar playing, using a lot of strange tunings and voicings and chord structures that aren't really that natural to the guitar; I ended up developing a harmonic palette that's not particularly natural to the guitar because I was always trying to make my guitar sound like something else.
As soon as you think you have a firm idea you allow it to dissolve and you let go of it, particularly when it comes to a stylistic or aesthetic identity. In fact, you only really find out what it is when you deconstruct it; so, yeah, that's a sort of collage sensibility of having a lot of voicings coming from all over the place and not necessarily trying to shape them or try to commodify them. It keeps you in the living language. . . an opportunity to not be governed so much by intellect.