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.

I didn't have any sophisticated equipment at all. The equipment we had in the studio at the time was not intended to make music; it was for testing purposes. So we had to repurpose all the equipment to make music. That made me try a lot of different things.

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.

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.

A mouse and a keyboard is not a good performance instrument.

I felt a challenge to compose music. That's where my challenge was, for the most part.

Those people who don't have any voluntary control, or hands, can work with the physical movement that they can do - whatever voluntary movement they have, even the slightest .