When I composed the first sonic meditation, I realized that I was composing the direction of attention.

Walk so silently that the bottoms of your feet become ears

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.

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

[Improvisation ] is been with me all my life. We all do it.

I'm thinking of the audience as being ambient, meaning not sitting focused but being in the space and exploring it while listening to the players.

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.