One day I decided I would like to put a record into my system. So I picked up a record that was lying on the table, and put it on. I didn't bother to look at what it was because I didn't care, and it turned out to be Madame Butterfly. So I processed the aria from Madame Butterfly in my system and I played with it.

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.

It was around the end of the '60s, when I began to compose sonic meditations. Before that I was doing a lot of reflecting on myself, and listening to long tones.

Now, I have about twenty per hand and can change the number of delays, change different parameters, the delays to the modulations and so forth. I developed the EIS over the time period that I was just talking about [1991].

When I composed the first sonic meditation, I realized that I was composing the direction of attention.

We have a very large constituency in the world from all of the years that we've done workshops, retreats, and talks. I would say there a few thousand people out there that have some relationship to what we do.

[Students] they did the sonic meditations, I would observe them in their ensembles, and the ensembles improved incredibly. So I knew I had something to do and something to say.