I had invented my own system, my own way of making electronic music at the San Francisco Tape Music Centre, and I… — Pauline Oliveros Copy Share Image
Before that, an 8-bit recording was pixelated; it was really bad. It didn't serve what I was doing, which was recording live… — Pauline Oliveros Copy Share Image
I became interested in the delay, having sounds recorded and played back and then come back. I did many different configurations of… — Pauline Oliveros Copy Share Image
When we had the San Francisco Tape Music Center, we had a couple of Ampex tape machines there, and I could string… — Pauline Oliveros Copy Share Image
Now, I have about twenty per hand and can change the number of delays, change different parameters, the delays to the modulations… — Pauline Oliveros Copy Share Image
One day I decided I would like to put a record into my system. So I picked up a record that was lying on… — Pauline Oliveros Copy Share
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… — Pauline Oliveros Copy Share
There is a book called San Francisco Tape Music Centre:1960s Counterculture and the Avant-Garde and this book describes everything that you want to know… — Pauline Oliveros Copy Share
Everybody improvises their way through every day. And so I do that with music. — Pauline Oliveros Copy Share
In the '60s my friends were interested and we were hearing electronic music coming in on community radio from Europe, so that's where it… — Pauline Oliveros Copy Share
[Students] they did the sonic meditations, I would observe them in their ensembles, and the ensembles improved incredibly. So I knew I had something… — Pauline Oliveros Copy Share
It was around the end of the '60s, when I began to compose sonic meditations. Before that I was doing a lot of reflecting… — Pauline Oliveros Copy Share
I got very interested in attention and awareness and how to achieve certain states through understanding this. — Pauline Oliveros Copy Share
I try to influence this improvisation in two ways. One is by centering on reflections, in both senses of the word: acoustic reflections as… — Pauline Oliveros Copy Share
People's experiences are all different, and you don't know what the person experienced. They know, but you don't, so I think it's important to… — Pauline Oliveros Copy Share
I noticed you could monitor the recording that you're making, but you could also monitor the playback head. There's a little distance between them… — Pauline Oliveros Copy Share
First of all I had to teach myself how to use the studio because there wasn't any classes in electronic music. So I'd stay… — Pauline Oliveros Copy Share
I had invented my own system, my own way of making electronic music at the San Francisco Tape Music Centre, and I was using… — Pauline Oliveros Copy Share
I heard a lot of different kinds of music. I heard country music, I heard jazz, I heard symphonic music, opera, everything you can… — Pauline Oliveros Copy Share
The base skill is listening: how I'm listening to the material, how I'm listening to the space. With electronic sound, it's a similar situation… — Pauline Oliveros Copy Share
![“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].” quote by Pauline Oliveros](https://sms4smile.com/quotes/i/d7a/pauline-oliveros-8481_delay_now-i-have-about-twenty-per-hand-and-can_2691031.jpg)