I thought that it would be interesting to have a mirror and grab a light and shine it around in different ways. It's an analog to the acoustic reflections that we're going to be trying to activate as well.

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

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

Everybody improvises their way through every day. And so I do that with music.

I became interested in the delay, having sounds recorded and played back and then come back. I did many different configurations of sending signals from one track back to another track, or to the same track, or crisscrossing them and so forth. I worked on masking the delays so when I played into the machine, I would make long tones and collect sounds in such a way that you didn't hear the delay, although sometimes you did.

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.

Listening is not the same as hearing and hearing is not the same as listening