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.

It was around the end of the '60s, when I began to compose sonic meditations. Before that I was doing a lot of reflecting on myself, and listening to long tones.

I didn't have any sophisticated equipment at all. The equipment we had in the studio at the time was not intended to make music; it was for testing purposes. So we had to repurpose all the equipment to make music. That made me try a lot of different things.

We have a very large constituency in the world from all of the years that we've done workshops, retreats, and talks. I would say there a few thousand people out there that have some relationship to what we do.

We think about sitting in a space and hearing some music by having our ears pointed forward towards the musicians sitting opposite us. I'm really not following that paradigm at all.

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

After a long section of the glass playing, you'll hear an instrumental sound emerge from some undisclosed location. There'll be a lot of mystery about the sound, I think.