Everybody improvises their way through every day. And so I do that with music.

I'm thinking of the audience as being ambient, meaning not sitting focused but being in the space and exploring it while listening to the players.

It was around the end of the '60s, when I began to compose sonic meditations. Before that I was doing a lot of reflecting on myself, and listening to long tones.

[My interest in music] is from my mother and my grandmother, who were pianists, and they taught.

Working in theoretical systems can take away the juice. It can also be very beautiful, but when you're trying to satisfy a theoretical principle rather than a sonic reality, then it can become dry.

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.

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.