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.

The students were missing out a lot in their ensemble playing because they weren't listening to each other or the environment.

When we had the San Francisco Tape Music Center, we had a couple of Ampex tape machines there, and I could string tape from one machine, past the heads, and over to the next machine to the supply-reel amp, and have another delay there.

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

First of all I had to teach myself how to use the studio because there wasn't any classes in electronic music. So I'd stay there all night and leave in the morning, observe the sun rise and have a lot of different kinds of sounds in my mind. But it was a quest, it was a search. It was research, it was learning.

I have a commission to do a piece in a place in California, Oliver Ranch, which has an eight-storey structure called The Tower designed by the visual artist Ann Hamilton.

Now, I have about twenty per hand and can change the number of delays, change different parameters, the delays to the modulations and so forth. I developed the EIS over the time period that I was just talking about [1991].