The base skill is listening: how I'm listening to the material, how I'm listening to the space. With electronic sound, it's a similar situation of how to produce it and place it so that it works in a space. The first consideration is adopting the space and having work that resonates in the space.

I became interested in the delay, having sounds recorded and played back and then come back. I did many different configurations of sending signals from one track back to another track, or to the same track, or crisscrossing them and so forth. I worked on masking the delays so when I played into the machine, I would make long tones and collect sounds in such a way that you didn't hear the delay, although sometimes you did.

It's going to take about a year or two for the transfer to be completed. We have a certification program so professionals can teach deep listening.

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.

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.

I try to schedule the Intensives wherever I go.

I got very interested in attention and awareness and how to achieve certain states through understanding this.