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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.

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
Started
Boulders
Bunch
Wrote
Using
Meditation
Students
Joshua
Took
Meditations
Tree
Sonic

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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.
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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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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 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 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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I used to go into the studio around midnight and stay all night.
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Everybody improvises their way through every day. And so I do that with music.
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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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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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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 got very interested in attention and awareness and how to achieve certain states through understanding this.
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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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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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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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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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Radio broadcasting was only 25 years old when I was born in 1932.
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Listening is selecting and interpreting and acting and making decisions.
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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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When I composed the first sonic meditation, I realized that I was composing the direction of attention.
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