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.

That was at the Michigan Womyn's Music Festival in about 1989. There were 6,000 women there, and they were out in a meadow, and I offered the tuning meditation and they did it.

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.

My writing has always been a rather non-linear process. I've found if I get something down, I can listen to it and other things start to come.

Now, I have about twenty per hand and can change the number of delays, change different parameters, the delays to the modulations and so forth. I developed the EIS over the time period that I was just talking about [1991].

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