That was at the Michigan Womyn's Music Festival in about 1989. There were 6,000 women there, and they were out in a meadow, and I offered the tuning meditation and they did it.

The San Francisco Tape Music Centre was a kind of collective non-profit that my friends and I got started so that we could pool our equipment and make tape music.

I think that this performance with the Thingamajigs is going to be an exploration of the acoustic space and particularly the vertical space, which we don't think about so much.

There are these sounds that come from outside that work really well if you're listening. If you're not listening, if you're blocking them out, then you don't get it. You don't get the merger of what the players are doing with everything, listening to everything.

In my Deep Listening class at RPI, I always do an hour of energy exercises to start with. Then we do a listening meditation after that, after the body has been loosened up and warmed up and is ready. We do the listening. After that, there's the journaling of the experience, which they do each time throughout the semester to the point that I have them write a final paper on what they've experienced.

Before that, an 8-bit recording was pixelated; it was really bad. It didn't serve what I was doing, which was recording live sound and delaying it and feeding it back. This is essentially what the EIS system is: a bunch of delays.

I feel that students always learn more from each other than they do from their professor. They learn by doing and not by trying to soak up information from one person.