Pauline Oliveros (May 30, 1932, Houston, Texas)
Pauline Oliveros was born in Texas, surrounded by the sounds of nature and the environment, loved listening to the radio static emitted by the whistle while the tuner is led from one channel to another. Mother and grandmother were teachers of the plan, in 1942 gave her an accordion, an instrument which will for life, and a hunting horn. In 1953 he got his first tape recorder with which he recorded some tracks:
"I would rercord acustic sounds using cardboard tubes as filters. I'd put a microphone at one end of a cardboard tube and a sound source at the other. I used different sized tubes to get different filter characteristics. Sometimes I'd clamp a sound source to the wall so the wall Would act as a resonator and then record it at 3 1 / 2 or 7 1 / 2 inches per second and use the hand winding to vary the speed. I used a bathtub as a reverberation chamber "
the late fifties he moved from Houston to San Francisco where he attended the State University. In California he became friends with Terry Riley and Loren Rush, classmates at Berkeley with which he made a few sessions of improvisation. The atmosphere of San Francisco in the early sixties was really supply: with Morton Subotnik and Ramon Sender and Riley organizes the "Sonics," a series of concerts based on improvisation kept in the attic of the Conservatory. In 1962 the group changed location: opened on San Francisco Tape Center that Pauline will head from 1966 to 1967. The Tape Center, provided at the beginning of a modest equipment (different tape recorders and the prototype of a tape-loop system and delay created by Pauline) quickly became a collection point for all the artists and technicians interested in new expressions of ' mail. Here Don Buchla Buchla develop its Box.
Considered one of the pioneers of the tape delay and the sequencer, Pauline has always moved his research from the desire to be in close contact with the sound, to move it and control it in real time. Performance, public involvement and environments to be hand in hand with music by Pauline investigations. In the eighties
invented his own instrument, the EIS (Expanded Instrument System) and many experiments izing drone: the Guggenheim Museum in New York placed 100 singers on the escalation of Wright giving them very little guidance on how they should tune. The architecture of the building gave his contribution to performance. In 1982 an orchestra of accordion recruits (23 items) and item comes to the conclusion rhythmic miminamlista popularized by Philip Glass and Steve Reich. Equipped with trombone, didjeridu, accordion, shells, and pieces of entries metallo nel 1988 con Stuart Dempster e Panaiotist passa 5 ore in una gigantesca cisterna dismessa e sepolta. La Cistern Chapel a Fort Worden, con i suoi 45 secondi di reverberation time vede nascere la Deep Listening Band leggendario gruppo con dozzine di ospiti che registra subterranean soundscapes, improvvisazioni davvero influenzate dagli spazi. Da queste esperienze nasce il Deep Listening, teoria musicale della Oliveros sviluppata negli anni Novanta in cui introduce il concetto di incorporare i suoni dell’ambiente nella performance musicale. Obbiettivo del D.L. è quello di ascoltare ogni rumore per ciò che è, niente di più niente di meno. Il Deep Listening e le Sonic Meditation (già celebri negli anni ’70) devono molto alla pratica Zen: when the perceiver and perceived are two, the ego continues its differentiating function, preventing the full ceratività perception to emerge. The principle of non-differentiation, already used by Cage, which move the performance of Oliveros tries to break the limits between the perceiver (as a subject) and perceived (object). The inerpretazione of the two in a unique and not separated will be born in mind harmony and creativity.
One of the basic concepts of the mentality of Pauline Oliveros about creativity and nesessaria seen as fundamental to human dignity. Helping others to be creative is a basic task that the artist has to perform; allo scopo di dare supporto ai giovani artisti fonda la Pauline Oliveiros Foundation.
Nel corso degli anni ha insegnato in varie università americane (attualmente è docente e ricercatrice al Mills College), scritto numerosi libri sulla percezione del suono e sulle sue teorie artistiche. Realizza incessantemente performance e concerti.
"I have listened to many refrigerators. There is often a flickering between the sixth and seventh harmonic. Once, while in the process of drinking ouzo ... a refrigerator sent its harmonics out to surround my head with circles, ellipses and figure-eights". Pauline Oliveros
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