From Ten Thousand Hours:

Composer and percussionist Aaron Siegel discusses his acoustic experimental work, raising questions about the relationship between performers, audience members and the space they occupy together. Unique instrumentation and experimental notation systems are discussed as Siegel and James Ilgenfritz read through a compositional sketch for glockenspiel and double bass that includes some extremely brief improvisational sections. Siegel refers to Padgett Powell’s book The Interrogative Mood, discussing his thoughts on the composer/interpreter relationship. Comparisons are also made with the wall boxes of Donald Judd and the wall drawings of Sol Lewitt, illustrating his philosophies on binary opposition and his method of conceiving of large-scale musical structures.