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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 .

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
Work
Voluntary
People
Slightest
Physical
Movement
Control
Whatever
Hands
Even

More quotes by Pauline Oliveros

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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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I can't really deal with buttons. And that's what I keep saying, Okay, I can't push buttons, because that means I have to take my hands off the keyboard or the buttons or whatever. Don't you understand! .
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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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Everybody improvises their way through every day. And so I do that with music.
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I used to go into the studio around midnight and stay all night.
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In the '60s my friends were interested and we were hearing electronic music coming in on community radio from Europe, so that's where it started. And I had a tape recorder and started making things with it.
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The students were missing out a lot in their ensemble playing because they weren't listening to each other or the environment.
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Listening is not the same as hearing and hearing is not the same as listening
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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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I had to cope with attitudes that were not supportive all along. I mean, you still have that.
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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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Listening is selecting and interpreting and acting and making decisions.
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We have a very large constituency in the world from all of the years that we've done workshops, retreats, and talks. I would say there a few thousand people out there that have some relationship to what we do.
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I felt a challenge to compose music. That's where my challenge was, for the most part.
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We think about sitting in a space and hearing some music by having our ears pointed forward towards the musicians sitting opposite us. I'm really not following that paradigm at all.
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I had a lot of good times. I had a lot of fun. I liked what I was doing, so I just kept doing it. At the Tape Music Center, I was working from midnight to four in the morning. Because then it was quiet, nobody was there, and I could just do my work. I didn't have to fool around.
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I'll just say that I made my own explorations of tone by listening to a tone for a long time until I began to understand what my sensations were, what my mind was doing with tone.
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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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I got very interested in attention and awareness and how to achieve certain states through understanding this.
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Deep Listening Institute is dissolving and is now the Center for Deep Listening at Rensselaer Polytechnic Institute (RPI). The legacy of the twenty or thirty years that we've been operating is now transferred to RPI.
Pauline Oliveros