This article has been cited often. However, it was created for a book/journal collection that never appeared. All of it's content is contained in the larger monograph, Collapsing Distinctions: Interacting within Fields of Intelligence on Interstellar Scales and Parallel Musical Models, which is available on this website under Written Works - Books.
"There are two basic principles of musical structure I rely on. The first is expressed by the force of attraction, (gravity, love, concentration, creation), and the second lies in the idea of repetition, (materialization, duration). My mindfulness of this constitutes the only score. I find I must wait before the beginning of each performance until I am surprised by the first sound I make and the fact that it is made. Then, I feel ready to proceed."
In Avanzini, G., Faienza, C., Lopez, L., Majno, M., and Minciacchi, D. (Eds.). The Neurosciences and music, Volume 999 of the Annals of the New York Academy of Sciences, (New York: NYAS), 263-271. doi: 10.1196/annals.1284.037.
Leonardo Electronic Almanac, 11, 7. (Cambridge, MA: The MIT Press.)
Interview by S. Bekwith in York, the founding generation, 1970–2000. (Toronto: Department of Music, Faculty of Fine Arts, York University), 69-78.
Leonardo Music Journal, 12, 73–78.
In Zorn, J. (Ed.). Arcana: Musicians on Music, (New York: Hips Road and Granary Books), 203-232.
New Music LA. January–February. (Los Angeles: American Composers Forum, Los Angeles Chapter.)
Leonardo, 30, 4, 291–297.
Leonardo Music Journal, 7, 35–39.
Perspectives Of New Music, Volume 34, No. 1, (Winter, 1996), 210–226.
[PDF AVAILABLE FOR DOWNLOAD] In Proceedings, The 71st Annual Meeting, 1995 (Reston, VA: National Association of Schools of Music), 19–31.
In Proceedings Of The 1992 International Computer Music Conference. (San Francisco: International Computer Music Association - ICMA).