I think that this performance with the Thingamajigs is going to be an exploration of the acoustic space and particularly the vertical space, which we don't think about so much.

I wrote my sonic meditations and started using them with students. I took a bunch of UCSD students out to Joshua Tree and we did the sonic meditations on the boulders.

The students were missing out a lot in their ensemble playing because they weren't listening to each other or the environment.

That change happened about 1991. It was not possible to transfer the Expanded Instrument System to the computer until then, when 16-bit recording became available.

Now, I have about twenty per hand and can change the number of delays, change different parameters, the delays to the modulations and so forth. I developed the EIS over the time period that I was just talking about [1991].

My mother brought home the accordion in 1942. I was fascinated and wanted to learn to play it. Some of my music has a relationship to dance styles - The Well and the Gentle or The Wanderer for example.

One day I decided I would like to put a record into my system. So I picked up a record that was lying on the table, and put it on. I didn't bother to look at what it was because I didn't care, and it turned out to be Madame Butterfly. So I processed the aria from Madame Butterfly in my system and I played with it.