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.

You run into stereotypes so that the stereotype filters who you are and what you do, and having to deal with that was the most frustrating thing for me.

Those people who don't have any voluntary control, or hands, can work with the physical movement that they can do - whatever voluntary movement they have, even the slightest .

I would play a long tone on my accordion, or I'd sing one, and I would note how it felt - what it did with my mental space. These were meditations that I did.

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

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.

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.