Top 80 Quotes & Sayings by Pauline Oliveros - Page 2

I'm currently very impressed with the level of understanding and of interest in listening that I experience wherever I go. That motivates me to dig deeper into what I've been doing all of this time, to find new ways and also to get over the thought that it's not happening.

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.

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.

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!" .

In the beginning we were making tape music, meaning, we were making music on tape.

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.

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.

After a long section of the glass playing, you'll hear an instrumental sound emerge from some undisclosed location. There'll be a lot of mystery about the sound, I think.

Radio broadcasting was only 25 years old when I was born in 1932.

All the way from the first thing that I can remember, like our Victrola - a wind-up record player - and my grandfather's crystal radio, and my father's shortwave radio.

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.

I felt a challenge to compose music. That's where my challenge was, for the most part.

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.

Now, I have about twenty per hand and can change the number of delays, change different parameters, the delays to the modulations and so forth. I developed the EIS over the time period that I was just talking about [1991].

The San Francisco Tape Music Centre was a kind of collective non-profit that my friends and I got started so that we could pool our equipment and make tape music.

My first tape piece was made with that Sears Roebuck recorder. I modified sound using cardboard tubes with a microphone in the end to filter the sound. I had a wooden apple box with a Piezo [contact] mic and little objects that I could amplify on the box. I used the bathtub for reverberation.

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.

The sound and just the fact that it was different from the piano, yet it still had some familiarity [made my fascinated with accordion].

[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.

The sound that I play is delayed, it's modified, and it's modulated. It's an intelligent system; it's happening now.