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 wrote my sonic meditations and started using them with students. I took a bunch of UCSD students out to Joshua Tree and we did the sonic meditations on the boulders.

I had to cope with attitudes that were not supportive all along. I mean, you still have that.

Deep Listening is listening in every possible way to everything possible to hear no matter what you are doing. Such intense listening includes the sounds of daily life, of nature, or one's own thoughts as well as musical sounds. Deep Listening represents a heightened state of awareness and connects to all that there is. As a composer I make my music through Deep Listening

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.

You invent things like algorithms to take care of some of the changes you want to make. The changes aren't detectable. There's all kinds of things happening as I play.

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.