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

The sound and just the fact that it was different from the piano, yet it still had some familiarity [made my fascinated with accordion].

It takes time because the habitual response to that is very deep. It goes back to our earliest responses as babies. You have to feel safe, and if a sound is threatening, you're going to be upset. There are those early responses, depending on how and what kind of experiences you had.

All the way from the first thing that I can remember, like our Victrola - a wind-up record player - and my grandfather's crystal radio, and my father's shortwave radio.

You run into stereotypes so that the stereotype filters who you are and what you do, and having to deal with that was the most frustrating thing for me.

I'm very interested in vertical space.I want the players to listen to their sound in such a way that they hear the complete sound they make before they make another one. So that means that they hear the tail of the sound. Because of the reverberation, there's always more to the sound than just the sound.

I thought that it would be interesting to have a mirror and grab a light and shine it around in different ways. It's an analog to the acoustic reflections that we're going to be trying to activate as well.