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.

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

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

The sound and just the fact that it was different from the piano, yet it still had some familiarity [made my fascinated with accordion].

The mission [of institution] won't change. It will continue to be what it is: to spread the practice of deep listening and introduce it to people, to do workshops and retreats and certification programs and so on.

Something that I did, and I developed out of that sonic meditations, which were pieces that I composed in the '70s that now are very well-known and used in many classrooms all over the world, but at the time were outrageous.

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.