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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.

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
Going
Interesting
Acoustics
Way
Around
Grab
Would
Light
Shine
Thought
Mirror
Wells
Mirrors
Analog
Well
Shining
Activate
Different
Reflection
Reflections
Trying
Ways
Acoustic

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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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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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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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A mouse and a keyboard is not a good performance instrument.
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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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Listening is selecting and interpreting and acting and making decisions.
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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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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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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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[My interest in music] is from my mother and my grandmother, who were pianists, and they taught.
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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 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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I got very interested in attention and awareness and how to achieve certain states through understanding this.
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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Everybody improvises their way through every day. And so I do that with music.
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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.
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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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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.
Pauline Oliveros