I didn't have any sophisticated equipment at all. The equipment we had in the studio at the time was not intended to make music; it was for testing purposes. So we had to repurpose all the equipment to make music. That made me try a lot of different things.

The base skill is listening: how I'm listening to the material, how I'm listening to the space. With electronic sound, it's a similar situation of how to produce it and place it so that it works in a space. The first consideration is adopting the space and having work that resonates in the space.

Listening is not the same as hearing and hearing is not the same as listening

I wrote my sonic meditations and started using them with students. I took a bunch of UCSD students out to Joshua Tree and we did the sonic meditations on the boulders.

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.

It might be fun to have audience members wander up the ramps as well, so they can listen from different vantage points.

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.