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.

A mouse and a keyboard is not a good performance instrument.

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

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.

Something that I did, and I developed out of that sonic meditations, which were pieces that I composed in the '70s that now are very well-known and used in many classrooms all over the world, but at the time were outrageous.

I'll just say that I made my own explorations of tone by listening to a tone for a long time until I began to understand what my sensations were, what my mind was doing with tone.

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