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.

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

It might be fun to have audience members wander up the ramps as well, so they can listen from different vantage points.

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.

[Students] they did the sonic meditations, I would observe them in their ensembles, and the ensembles improved incredibly. So I knew I had something to do and something to say.

There is a book called San Francisco Tape Music Centre:1960s Counterculture and the Avant-Garde and this book describes everything that you want to know or don't want to know about it, with a lot of documentation.

Listening is selecting and interpreting and acting and making decisions.