For a fellow who professes to be interested in education, his unwillingness to look anything at all up continues to be startling.
However, there's one remark worth noting in there, after a fashion. Right at the end, Ming says this:
I’ve always thought of a frame this way: it’s a flat sheet balanced on one point, which is your subject; in order for the eyes of your audience not to exit the frame – the sheet imbalances itself falls off the subject – all of the other objects must be distributed about the frame just so to be balanced [...]
which is indeed how he constructs his pictures, and which is surely the neatest and simplest explanation for them. Consider what kinds of pictures it rules out.
Anything which is imbalanced is out.
Anything in which there is more than one point of interest is ruled out. A picture of two people in conversation? No.