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… — Pauline Oliveros Copy Share Image
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… — 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 the table, and put it on. I didn't bother to look at what it was because I didn't care, and it turned out to be Madame Butterfly. So I processed the aria from Madame Butterfly in… — 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 Image
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 or don't want to know about it, with a lot of documentation. — Pauline Oliveros Copy Share
Everybody improvises their way through every day. And so I do that with music. — Pauline Oliveros Copy Share Image
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 Image
[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 Image
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 Image
I got very interested in attention and awareness and how to achieve certain states through understanding this. — Pauline Oliveros Copy Share Image
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 Image
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 listen carefully to what a person has to say. And not to force them into any direction at all but simply to model what you've experienced, model it and also be what I call a Listening… — 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 Image
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 Image
![“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.” quote by Pauline Oliveros](https://sms4smile.com/quotes/img-quotes/196/pauline-oliveros-8481_amplify_my-first-tape-piece-was-made-with-that-s_1181946.jpg)
![“[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.” quote by Pauline Oliveros](https://sms4smile.com/quotes/img-quotes/7b3/pauline-oliveros-8481_ensemble_students-they-did-the-sonic-meditations_223257.jpg)
