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.

[Students] they did the sonic meditations, I would observe them in their ensembles, and the ensembles improved incredibly. So I knew I had something to do and something to say.

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.

Now, I have about twenty per hand and can change the number of delays, change different parameters, the delays to the modulations and so forth. I developed the EIS over the time period that I was just talking about [1991].

A mouse and a keyboard is not a good performance instrument.

The mission [of institution] won't change. It will continue to be what it is: to spread the practice of deep listening and introduce it to people, to do workshops and retreats and certification programs and so on.

The students were missing out a lot in their ensemble playing because they weren't listening to each other or the environment.