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Something that I did, and I developed out of that sonic meditations, which were pieces that I composed in the '70s that now are very well-known and used in many classrooms all over the world, but at the time were outrageous.

Pauline Oliveros

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Pauline Oliveros
Age: 84 †
Born: 1932
Born: May 30
Died: 2016
Died: November 24
Accordionist
Composer
Music Theorist
Musician
University Teacher
Houston
Texas
Classrooms
Used
Composed
Wells
Outrageous
Well
Many
Classroom
Something
Developed
Time
Meditation
Meditations
World
Pieces
Sonic
Known

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A mouse and a keyboard is not a good performance instrument.
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Those people who don't have any voluntary control, or hands, can work with the physical movement that they can do - whatever voluntary movement they have, even the slightest .
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I had to cope with attitudes that were not supportive all along. I mean, you still have that.
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It might be fun to have audience members wander up the ramps as well, so they can listen from different vantage points.
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My mother brought home the accordion in 1942. I was fascinated and wanted to learn to play it. Some of my music has a relationship to dance styles - The Well and the Gentle or The Wanderer for example.
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Before that, an 8-bit recording was pixelated it was really bad. It didn't serve what I was doing, which was recording live sound and delaying it and feeding it back. This is essentially what the EIS system is: a bunch of delays.
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It takes time because the habitual response to that is very deep. It goes back to our earliest responses as babies. You have to feel safe, and if a sound is threatening, you're going to be upset. There are those early responses, depending on how and what kind of experiences you had.
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The mission [of institution] won't change. It will continue to be what it is: to spread the practice of deep listening and introduce it to people, to do workshops and retreats and certification programs and so on.
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I have a commission to do a piece in a place in California, Oliver Ranch, which has an eight-storey structure called The Tower designed by the visual artist Ann Hamilton.
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Deep listening is experiencing heightened awareness or expanded awareness of sound and of silence, of quiet, and of sounding - making sounds.
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When we had the San Francisco Tape Music Center, we had a couple of Ampex tape machines there, and I could string tape from one machine, past the heads, and over to the next machine to the supply-reel amp, and have another delay there.
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My mother brought accordion home. She was going to learn to play it so she could teach it and increase her income. And I got fascinated with it, so she backed off and let me do it.
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The sound and just the fact that it was different from the piano, yet it still had some familiarity [made my fascinated with accordion].
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When I composed the first sonic meditation, I realized that I was composing the direction of attention.
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[My interest in music] is from my mother and my grandmother, who were pianists, and they taught.
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My writing has always been a rather non-linear process. I've found if I get something down, I can listen to it and other things start to come.
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You run into stereotypes so that the stereotype filters who you are and what you do, and having to deal with that was the most frustrating thing for me.
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You invent things like algorithms to take care of some of the changes you want to make. The changes aren't detectable. There's all kinds of things happening as I play.
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Listening is not the same as hearing and hearing is not the same as listening
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It's going to take about a year or two for the transfer to be completed. We have a certification program so professionals can teach deep listening.
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