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

I have a variety of ways that I make music, but I'm working with the Thingamajigs in a particular way, which is: They are bringing to me their performance skills and their unusual instruments, which I'm relishing. They're really beautiful. The other thing is improvisation - these players improvise and they do it very beautifully, as a matter of fact.

I noticed you could monitor the recording that you're making, but you could also monitor the playback head. There's a little distance between them and so you get an echo, right? If you change the amplitude of, say, the playback and play with that, you get different qualities and different sounds. So I was very interested in that phenomenon.

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.

In the beginning we were making tape music, meaning, we were making music on tape.

My writing has always been a rather non-linear process. I've found if I get something down, I can listen to it and other things start to come.

In my Deep Listening class at RPI, I always do an hour of energy exercises to start with. Then we do a listening meditation after that, after the body has been loosened up and warmed up and is ready. We do the listening. After that, there's the journaling of the experience, which they do each time throughout the semester to the point that I have them write a final paper on what they've experienced.