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

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

It takes time because the habitual response to that is very deep. It goes back to our earliest responses as babies. You have to feel safe, and if a sound is threatening, you're going to be upset. There are those early responses, depending on how and what kind of experiences you had.

The San Francisco Tape Music Centre was a kind of collective non-profit that my friends and I got started so that we could pool our equipment and make tape music.

I would play a long tone on my accordion, or I'd sing one, and I would note how it felt - what it did with my mental space. These were meditations that I did.

I can't really deal with buttons. And that's what I keep saying, "Okay, I can't push buttons, because that means I have to take my hands off the keyboard or the buttons or whatever. Don't you understand!" .

I wrote my sonic meditations and started using them with students. I took a bunch of UCSD students out to Joshua Tree and we did the sonic meditations on the boulders.