I would play a long tone on my accordion, or I'd sing one, and I would note how it felt - what it did with my mental space. These were meditations that I did.

We think about sitting in a space and hearing some music by having our ears pointed forward towards the musicians sitting opposite us. I'm really not following that paradigm at all.

The San Francisco Tape Music Centre was a kind of collective non-profit that my friends and I got started so that we could pool our equipment and make tape music.

I would play a long tone on my accordion, or I'd sing one, and I would note how it felt - what it did with my mental space. These were meditations that I did.

I noticed you could monitor the recording that you're making, but you could also monitor the playback head. There's a little distance between them and so you get an echo, right? If you change the amplitude of, say, the playback and play with that, you get different qualities and different sounds. So I was very interested in that phenomenon.

I got very interested in attention and awareness and how to achieve certain states through understanding this.

When I composed the first sonic meditation, I realized that I was composing the direction of attention.