"I also did La Monte Young's "X For Henry Flynt," which was a good performance too. It's a place that I can't remember the exact score, but it stipulates that you play a complex chord cluster and that you try to play it identically and with an even space between it. There were two ways of doing it, since the score is ambiguous: you either play each one identical to the first, where you're trying to always play exactly the same thing, or you try to play each one identical to the one before. I did two performances of that one: I did one like this"--he spreads his arms--"at a piano where it was just as many notes as I could cover, and I did another one with an open piano frame where I just used a big flat piece of wood, CRASH CRASH CRASH. It sounds horrible I know, but if you last ten minutes it gets very interesting. My first performance of it lasted an hour and the second one an hour and a half. It's one of those hallucinatory pieces where your brain starts to habituate so that you cease to hear all the common notes, you just hear the differences from crash to crash, and these become so beautiful. They're just entrancing. The difference can be like trying to cover both the black and white keys at the same time, sometimes you don't get a white down properly or miss a black, and just missing one note out of the fifty or so you're covering is a very noticeable difference, you really can hear that. You start to hear these omissions as melodies, or sometimes your arms creeps up a little bit further or down a little bit further or you hit too hard or your rhythm switches, and of course since I had the sustain pedal down as well it was just a continuous ring and eventually the whole piano was just really resonating and the richness of the sound was just amazing. After a little while you start to hear every type of sound, it's the closest thing in music to a drug experience I've heard. You hear trumpets and bells and people talking clear words, sentences coming out, because the brain starts to--it's like the opposite of sensory deprivation, but it's the same effect. You start to hallucinate, because you telescope in on finer and finer details, like for instance the acoustics of the room become very very obvious to you. You notice that one note always echoes off that wall and another always echoes off that wall. And you can hear interplays like that in space as well, which of course are facts that in a normal performance you wouldn't be aware of, since things are going by so quickly and they don't repeat.