I became interested in the delay, having sounds recorded and played back and then come back. I did many different configurations of sending signals from one track back to another track, or to the same track, or crisscrossing them and so forth. I worked on masking the delays so when I played into the machine, I would make long tones and collect sounds in such a way that you didn't hear the delay, although sometimes you did.

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.

[My interest in music] is from my mother and my grandmother, who were pianists, and they taught.

Deep Listening Institute is dissolving and is now the Center for Deep Listening at Rensselaer Polytechnic Institute (RPI). The legacy of the twenty or thirty years that we've been operating is now transferred to RPI.

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.

I had a lot of good times. I had a lot of fun. I liked what I was doing, so I just kept doing it. At the Tape Music Center, I was working from midnight to four in the morning. Because then it was quiet, nobody was there, and I could just do my work. I didn't have to fool around.

I think the worst thing is stereotyping.