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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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Pauline Oliveros
Age: 84 †
Born: 1932
Born: May 30
Died: 2016
Died: November 24
Accordionist
Composer
Music Theorist
Musician
University Teacher
Houston
Texas
Aren
Care
Detectable
Play
Algorithms
Take
Invent
Kind
Happenings
Make
Happening
Things
Kinds
Like
Changes

More quotes by Pauline Oliveros

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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'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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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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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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Everybody improvises their way through every day. And so I do that with music.
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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 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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A mouse and a keyboard is not a good performance instrument.
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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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Radio broadcasting was only 25 years old when I was born in 1932.
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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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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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When I am composing, the sounds are leading me to the way I want them to organize.
Pauline Oliveros
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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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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 felt a challenge to compose music. That's where my challenge was, for the most part.
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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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[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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Listening is not the same as hearing and hearing is not the same as listening
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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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