The students were missing out a lot in their ensemble playing because they weren't listening to each other or the environment.

I'm currently very impressed with the level of understanding and of interest in listening that I experience wherever I go. That motivates me to dig deeper into what I've been doing all of this time, to find new ways and also to get over the thought that it's not happening.

You invent things like algorithms to take care of some of the changes you want to make. The changes aren't detectable. There's all kinds of things happening as I play.

That was at the Michigan Womyn's Music Festival in about 1989. There were 6,000 women there, and they were out in a meadow, and I offered the tuning meditation and they did it.

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.

The sound that I play is delayed, it's modified, and it's modulated. It's an intelligent system; it's happening now.

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.