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

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.

I got very interested in attention and awareness and how to achieve certain states through understanding this.

I am also interested in music expanding consciousness. By expanding consciousness, I mean that old patterns can be replaced with new ones.

I think the worst thing is stereotyping.

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 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.