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

I think that this performance with the Thingamajigs is going to be an exploration of the acoustic space and particularly the vertical space, which we don't think about so much.

People's experiences are all different, and you don't know what the person experienced. They know, but you don't, so I think it's important to listen carefully to what a person has to say. And not to force them into any direction at all but simply to model what you've experienced, model it and also be what I call a Listening Presence. If you're really listening, then some of the barriers can dissolve or change.

When we had the San Francisco Tape Music Center, we had a couple of Ampex tape machines there, and I could string tape from one machine, past the heads, and over to the next machine to the supply-reel amp, and have another delay there.

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

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

I have a variety of ways that I make music, but I'm working with the Thingamajigs in a particular way, which is: They are bringing to me their performance skills and their unusual instruments, which I'm relishing. They're really beautiful. The other thing is improvisation - these players improvise and they do it very beautifully, as a matter of fact.