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.

My writing has always been a rather non-linear process. I've found if I get something down, I can listen to it and other things start to come.

All the way from the first thing that I can remember, like our Victrola - a wind-up record player - and my grandfather's crystal radio, and my father's shortwave radio.

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.

The sound that I play is delayed, it's modified, and it's modulated. It's an intelligent system; it's happening now.

It's going to take about a year or two for the transfer to be completed. We have a certification program so professionals can teach deep listening.

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.