Wounds like flowers opening: a discussion of Hysteria for trombone and four-channel tape I want to thank John Campion for the use of his text and his advice and help with this article. I also wish to thank Edmund Campion for his technical help with the tape for Hysteria, and Matt Wright at the Center for Audio Technology at UC Berkeley for his help recording and the use of some of his samples. I am grateful to William Osborne for the use of his one stereo recording of Hysteria. Finally, most importantly, I wish to thank Abbie Conant for her collaboration, inspired performing, and inclusion in her larger project, The Wired Goddess.