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.

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].

I heard a lot of different kinds of music. I heard country music, I heard jazz, I heard symphonic music, opera, everything you can think of except very modern music.

I try to schedule the Intensives wherever I go.

It was around the end of the '60s, when I began to compose sonic meditations. Before that I was doing a lot of reflecting on myself, and listening to long tones.

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

[My interest in music] is from my mother and my grandmother, who were pianists, and they taught.