Memories I recall walking down the basement steps as a young child, circling around to that close place underneath the staircase. This was in the interest of finding that special private place, the special way of being, that I recognized internally as being significant without an obvious catalyst or direction from my external environment. There were sensations of connectivity with self and the universe; perceptions about human activity and how the world functions; knowledge and understanding without instruction or learning, in dreams and in my imagination. Even then I transformed existing technology to construct resources that would assist me in my attempts to convey a comprehensive expression of these impressions. I remember deconstructing an old toy record player, turning the mechanism into a control panel with lights that I could imagine to be anything at all, projecting how I would activate the rotating drum to set light processes in motion. This device was used to express concepts regarding my personal interface with the world, and was designed to serve an evolving set of circumstances. In another instance I conceived of a sound realm, including sounds, processes and modes of interaction. This sound realm was incapable of being produced in practical terms by any single acoustic instrument, or by any combination of instruments in existence. The conception originated in a need to effectively express my internal being and processes.  The sonic worlds and processes that best represented the expressive requirements consisted of more than stylistic modifications to existing instruments and traditional artistic forms. I proceeded to compose music utilizing the imagined sound realm; to design new representation systems to document the work and to act as performance scores; to experiment with modifying existing instruments to clearly define the sound realm and target effective directions for sound realization; to incorporate computer resources in service of the practical emulation of the sonic world and everything that it means with respect to process, interaction and communication. In the first example what remains is a distant, though poignant, image and impression from over thirty years ago. The second case remains as an essence representing a fifteen-year period of multi-sensory experience and directed activity. In each circumstance the imagining about configurable tools and environments predates the definition of any specific function. The imagining of sounds and artworks required a technology that remained to be developed in order to realize.