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

Walk so silently that the bottoms of your feet become ears

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.

When I am composing, the sounds are leading me to the way I want them to organize.

The sound and just the fact that it was different from the piano, yet it still had some familiarity [made my fascinated with accordion].

People's experiences are all different, and you don't know what the person experienced. They know, but you don't, so I think it's important to listen carefully to what a person has to say. And not to force them into any direction at all but simply to model what you've experienced, model it and also be what I call a Listening Presence. If you're really listening, then some of the barriers can dissolve or change.

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.