In the '60s my friends were interested and we were hearing electronic music coming in on community radio from Europe, so that's where it started. And I had a tape recorder and started making things with it.

That was at the Michigan Womyn's Music Festival in about 1989. There were 6,000 women there, and they were out in a meadow, and I offered the tuning meditation and they did it.

Before that, an 8-bit recording was pixelated; it was really bad. It didn't serve what I was doing, which was recording live sound and delaying it and feeding it back. This is essentially what the EIS system is: a bunch of delays.

Deep Listening is listening to everything all the time, and reminding yourself when you're not. But going below the surface too, it's an active process. It's not passive. I mean hearing is passive in that soundwaves hinge upon the eardrum. You can do both. You can focus and be receptive to your surroundings. If you're tuned out, then you're not in contact with your surroundings. You have to process what you hear. Hearing and listening are not the same thing.

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

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 am also interested in music expanding consciousness. By expanding consciousness, I mean that old patterns can be replaced with new ones.