Pauline Oliveros

A mouse and a keyboard is not a good performance instrument.

— Pauline Oliveros

I think the worst thing is stereotyping.

— Pauline Oliveros

Walk so silently that the bottoms of your feet become ears

— Pauline Oliveros

Listening is not the same as hearing and hearing is not the same as listening

— Pauline Oliveros

Everybody improvises their way through every day. And so I do that with music.

— Pauline Oliveros

I try to schedule the Intensives wherever I go.

— Pauline Oliveros

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

— Pauline Oliveros

[Improvisation ] is been with me all my life. We all do it.

— Pauline Oliveros

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

— Pauline Oliveros

The students were missing out a lot in their ensemble playing because they weren't listening to each other or the environment.

— Pauline Oliveros

I had to cope with attitudes that were not supportive all along. I mean, you still have that.

— Pauline Oliveros

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

— Pauline Oliveros

Listen to everything all the time and remind yourself when you are not listening.

— Pauline Oliveros

I got very interested in attention and awareness and how to achieve certain states through understanding this.

— Pauline Oliveros

[My interest in music] is from my mother and my grandmother, who were pianists, and they taught.

— Pauline Oliveros

When I am composing, the sounds are leading me to the way I want them to organize.

— Pauline Oliveros

I'll just say that I made my own explorations of tone by listening to a tone for a long time until I…

— Pauline Oliveros

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…

— Pauline Oliveros

Deep Listening Institute is dissolving and is now the Center for Deep Listening at Rensselaer Polytechnic Institute (RPI). The legacy of the…

— Pauline Oliveros

I have a commission to do a piece in a place in California, Oliver Ranch, which has an eight-storey structure called The…

— Pauline Oliveros

We think about sitting in a space and hearing some music by having our ears pointed forward towards the musicians sitting opposite…

— Pauline Oliveros

That was at the Michigan Womyn's Music Festival in about 1989. There were 6,000 women there, and they were out in a…

— Pauline Oliveros

Working in theoretical systems can take away the juice. It can also be very beautiful, but when you're trying to satisfy a…

— Pauline Oliveros

In the '60s my friends were interested and we were hearing electronic music coming in on community radio from Europe, so that's…

— Pauline Oliveros

I try to influence this improvisation in two ways. One is by centering on reflections, in both senses of the word: acoustic…

— Pauline Oliveros

I had invented my own system, my own way of making electronic music at the San Francisco Tape Music Centre, and I…

— Pauline Oliveros

I became interested in the delay, having sounds recorded and played back and then come back. I did many different configurations of…

— Pauline Oliveros

In my Deep Listening class at RPI, I always do an hour of energy exercises to start with. Then we do a…

— Pauline Oliveros

I have a variety of ways that I make music, but I'm working with the Thingamajigs in a particular way, which is:…

— Pauline Oliveros

I noticed you could monitor the recording that you're making, but you could also monitor the playback head. There's a little distance…

— Pauline Oliveros

Deep Listening is listening to everything all the time, and reminding yourself when you're not. But going below the surface too, it's…

— Pauline Oliveros

Deep Listening is listening in every possible way to everything possible to hear no matter what you are doing. Such intense listening…

— Pauline Oliveros

I used to go into the studio around midnight and stay all night.

— Pauline Oliveros

Listening is selecting and interpreting and acting and making decisions.

— Pauline Oliveros

I'm thinking of the audience as being ambient, meaning not sitting focused but being in the space and exploring it while listening…

— Pauline Oliveros

It might be fun to have audience members wander up the ramps as well, so they can listen from different vantage points.

— Pauline Oliveros

When I composed the first sonic meditation, I realized that I was composing the direction of attention.

— Pauline Oliveros

It's going to take about a year or two for the transfer to be completed. We have a certification program so professionals…

— Pauline Oliveros

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

— Pauline Oliveros

I am also interested in music expanding consciousness. By expanding consciousness, I mean that old patterns can be replaced with new ones.

— Pauline Oliveros