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.

I am also interested in music expanding consciousness. By expanding consciousness, I mean that old patterns can be replaced with new ones.

There are these sounds that come from outside that work really well if you're listening. If you're not listening, if you're blocking them out, then you don't get it. You don't get the merger of what the players are doing with everything, listening to everything.

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.

I became interested in the delay, having sounds recorded and played back and then come back. I did many different configurations of sending signals from one track back to another track, or to the same track, or crisscrossing them and so forth. I worked on masking the delays so when I played into the machine, I would make long tones and collect sounds in such a way that you didn't hear the delay, although sometimes you did.

Something that I did, and I developed out of that sonic meditations, which were pieces that I composed in the '70s that now are very well-known and used in many classrooms all over the world, but at the time were outrageous.

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.