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

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

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.

In the beginning we were making tape music, meaning, we were making music on tape.

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.

When I am composing, the sounds are leading me to the way I want them to organize.

I felt a challenge to compose music. That's where my challenge was, for the most part.