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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.

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
Forward
Musicians
Sitting
Opposite
Space
Opposites
Music
Hearing
Really
Towards
Think
Following
Thinking
Ears
Paradigm
Musician
Pointed

More quotes by Pauline Oliveros

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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'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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I'm very interested in vertical space.I want the players to listen to their sound in such a way that they hear the complete sound they make before they make another one. So that means that they hear the tail of the sound. Because of the reverberation, there's always more to the sound than just the sound.
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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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When I composed the first sonic meditation, I realized that I was composing the direction of attention.
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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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I wrote my sonic meditations and started using them with students. I took a bunch of UCSD students out to Joshua Tree and we did the sonic meditations on the boulders.
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A mouse and a keyboard is not a good performance instrument.
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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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Radio broadcasting was only 25 years old when I was born in 1932.
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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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I felt a challenge to compose music. That's where my challenge was, for the most part.
Pauline Oliveros
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[My interest in music] is from my mother and my grandmother, who were pianists, and they taught.
Pauline Oliveros
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Listening is selecting and interpreting and acting and making decisions.
Pauline Oliveros
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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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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.
Pauline Oliveros
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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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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.
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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! .
Pauline Oliveros