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.

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.

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.

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

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

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.

In the '60s my friends were interested and we were hearing electronic music coming in on community radio from Europe, so that's where it started. And I had a tape recorder and started making things with it.