The sound that I play is delayed, it's modified, and it's modulated. It's an intelligent system; it's happening now.

When we had the San Francisco Tape Music Center, we had a couple of Ampex tape machines there, and I could string tape from one machine, past the heads, and over to the next machine to the supply-reel amp, and have another delay there.

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

I'm currently very impressed with the level of understanding and of interest in listening that I experience wherever I go. That motivates me to dig deeper into what I've been doing all of this time, to find new ways and also to get over the thought that it's not happening.

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.

I try to schedule the Intensives wherever I go.

My mother brought accordion home. She was going to learn to play it so she could teach it and increase her income. And I got fascinated with it, so she backed off and let me do it.