I felt a challenge to compose music. That's where my challenge was, for the most part.

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.

After a long section of the glass playing, you'll hear an instrumental sound emerge from some undisclosed location. There'll be a lot of mystery about the sound, I think.

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.

There is a book called San Francisco Tape Music Centre:1960s Counterculture and the Avant-Garde and this book describes everything that you want to know or don't want to know about it, with a lot of documentation.

There are these sounds that come from outside that work really well if you're listening. If you're not listening, if you're blocking them out, then you don't get it. You don't get the merger of what the players are doing with everything, listening to everything.

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