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.

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.

All the way from the first thing that I can remember, like our Victrola - a wind-up record player - and my grandfather's crystal radio, and my father's shortwave radio.

My first tape piece was made with that Sears Roebuck recorder. I modified sound using cardboard tubes with a microphone in the end to filter the sound. I had a wooden apple box with a Piezo [contact] mic and little objects that I could amplify on the box. I used the bathtub for reverberation.

Walk so silently that the bottoms of your feet become ears

I am also interested in music expanding consciousness. By expanding consciousness, I mean that old patterns can be replaced with new ones.

I try to influence this improvisation in two ways. One is by centering on reflections, in both senses of the word: acoustic reflections as well as visual reflections from a mirror or surface, and then reflecting on the material in a contemplative way. The other influence is listening to the tails of the sounds that you make.