Things come up from the outside, the outside world says, okay, you have do this, you have to go here and here and here, and these are your options. You can be here or you can be here. You can do this, or you can do this. You can go here, or you can go there. So each one of those things becomes a place of decision, and the way we make decisions is that we all get together and if somebody doesn't feel right about it or it doesn't seem to sit right, usually we'll go with the no vote. If somebody's not comfortable with it, we'll figure it's not going to be worth doing.

Stuff that's hidden and murky and ambiguous is scary because you don't know what it does.

The thing of being able to share somebody's reality, which has so far been a matter of what communication is about, you know. Now it has gotten a whole new leg. It has gotten a thing of being able to actually step in somebody's reality and walk through it like they do, experience it the way they do, specifically. The implications, to me, are immense. I mean, how far can it go? If you go into a complete, like a cyberspace model of some type, in which... you know the discussion about the mind and the interaction between the mind and the universe as a holographic phenomenon.

Kerouac was a breeze, some kind of incredible super-American, mythos personality blasting through the highways of 1947 America.

I have all the patience in the world about Sirens. For me it's not a Grateful Dead project, it's a Me project.

There's a lot there to enlarge you. That's part of the value of being in an extended family is that it enlarges you. It makes you bigger. It makes you more.

Music is a universal language insofar as you don't need to know anything else about a musician that you are playing with other than that they can play music. It doesn't matter what their music is, you can find something that you can play together, with what their culture is. The dialect part of it comes into play, but nothing like the differentiation that language sets up, for example.