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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.

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
Fun
Audience
Ramps
Wells
Vantage
Might
Ramp
Well
Wander
Different
Points
Members
Listen

More quotes by Pauline Oliveros

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Listening is not the same as hearing and hearing is not the same as listening
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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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I used to go into the studio around midnight and stay all night.
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Listening is selecting and interpreting and acting and making decisions.
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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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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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[Students] they did the sonic meditations, I would observe them in their ensembles, and the ensembles improved incredibly. So I knew I had something to do and something to say.
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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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I thought that it would be interesting to have a mirror and grab a light and shine it around in different ways. It's an analog to the acoustic reflections that we're going to be trying to activate as well.
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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 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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When I composed the first sonic meditation, I realized that I was composing the direction of attention.
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Radio broadcasting was only 25 years old when I was born in 1932.
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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].
Pauline Oliveros
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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.
Pauline Oliveros
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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.
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When I am composing, the sounds are leading me to the way I want them to organize.
Pauline Oliveros
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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.
Pauline Oliveros
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There are these sounds that come from outside that work really well if you're listening. If you're not listening, if you're blocking them out, then you don't get it. You don't get the merger of what the players are doing with everything, listening to everything.
Pauline Oliveros
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I had to cope with attitudes that were not supportive all along. I mean, you still have that.
Pauline Oliveros