Pauline Oliveros

Pink Noises ◽  
2020 ◽  
pp. 25-33
Keyword(s):  
Pauline Oliveros

scholarly journals Field Recording or Field Observation?: Audio Meets Method in Qualitative Research

2015 ◽  
Author(s):  
Sam Smiley
Keyword(s):  
Qualitative Research ◽  
Field Observation ◽  
Art Music ◽  
Social Setting ◽  
Field Observations ◽  
Field Recordings ◽  
Field Recording ◽  
Clifford Geertz ◽  
Preliminary Research ◽  
Pauline Oliveros

The field observation, an ethnographic practice of collecting data and information about a given social setting and situation is often used in preliminary research to have an understanding of the community one is researching. However, from an artist/musician's perspective, the field observation has many commonalities with techniques used in audio field recording. How can field recording be used in parallel with field observations to explore and understand a community through art? This essay will begin with a comparison of field observations and field recordings as methods in their own disciplines, and continue with the concept of “attention” in art, music, science and anthropology. It will follow and conclude with a project that looks at combining qualitative research and art to explore a community of gardeners through recorded interviews and sounds. The work of Pauline Oliveros, Walter S. Gershon, Clifford Geertz, Anne McCrary Sullivan, and Steven Feld will be important in making the connections across disciplines.

scholarly journals Pauline Oliveros at ICMC Re-Visited: Technology and the Self

2020 ◽  
pp. 15-19
Author(s):  
Maria Chavez ◽  
Seth Cluett
Keyword(s):  
The Self ◽  
Pauline Oliveros

scholarly journals Åčçëñtß

2020 ◽  
pp. 36-48
Author(s):  
Richy Carey
Keyword(s):  
Collective Identities ◽  
Community Groups ◽  
Concert Halls ◽  
To Come ◽  
The Individual ◽  
The City ◽  
Deep Listening ◽  
Pauline Oliveros

In 2018 I was appointed to the position of Glasgow’s first UNESCO City of Music artist-in-residence. Over the course of a year I worked with numerous community groups and choirs across the city to collaboratively devise and realise a new choral/film work, titled Åčçëñtß, which was performed by an audience of over three hundred and fifty people at its premiere at the Glasgow Royal Concert Halls in 2019. Åčçëñtß explores accents as a sonorous social matter – staccatos and lilts, patterns of difference in our voices, as sonic markers of place and community – sounds that I have come to understand as resonating between our individual and collective identities. This paper presents some of the thoery orientating my compositional praxis, speaking nearby a reflective account of some of the compositional considerations and processes undertaken through the project. Through it I explore Karen Barad’s methodology of diffractive thought, Trinh T. Minh-ha’s notion of speaking nearby within the interval, Pauline Oliveros’ practice of Deep Listening, thinking towards how these might meet through my praxis to come close to Timothy Corrigan’s Refractive Cinema. Åčçëñtß speaks to the complexity of authorship and agency in distributed, collaborative composition and the motive relationships between sound and image, spectacle and spectator – between the individual and the communal.

scholarly journals Gender, Genre and Electroacoustic Soundmaking Practices

2012 ◽  
Vol 26 (2) ◽  
pp. 20-48 ◽  
Author(s):  
Andra McCartney
Keyword(s):  
Pierre Boulez ◽  
Project Analysis ◽  
Compositional Control ◽  
Musique Concrete ◽  
Pauline Oliveros

This article is an exploration of how genres and practices of electroacoustic soundmaking are gendered, examining processes of gendering in language used in the early dichotomous categorization betweenmusique concrèteandelektronische Musik,then thinking about related arguments concerning abstraction, context, and compositional control in the writings of electroacoustic soundmakers including Pierre Schaeffer, Pierre Boulez, Daphne Oram, Pauline Oliveros, and several participants of the In and Out of the Sound Studio project. Analysis of their practices and ideas suggests different ways of conceptualising electroacoustic genres, their related practices, and roles of contemporary electroacoustic soundmakers (composers, artists, producers, mixers, audiences...), by examining the potentials of the concepts ofempathetic knowledgeandecologicalthinkingadvanced by feminist epistemologist Lorraine Code.

scholarly journals Safe To Play

2018 ◽  
Vol 12 (1) ◽  
Author(s):  
Pauline Oliveros
Keyword(s):  
Child Protection ◽  
Keynote Address ◽  
Video Documentation ◽  
Queen's University ◽  
Pauline Oliveros

Pauline Oliveros’ keynote address entitled “Safe to Play” was given at the “Just Improvisation: Enriching child protection law through musical techniques, discourses and pedagogies” Symposium, Queen’s University Belfast, 29 – 30 May 2015. For video documentation of the keynote, see http://translatingimprovisation.com/portfolio/symposium.

Subject, Object, Improv: John Cage, Pauline Oliveros, and Eastern (Western) Philosophy in Music

2010 ◽  
Vol 6 (2) ◽  
Author(s):  
Tracy M McMullen
Keyword(s):  
The Body ◽  
Buddhist Philosophy ◽  
The Self ◽  
Western Philosophy ◽  
John Cage ◽  
Intellectual Tradition ◽  
The Subject ◽  
Western Intellectual ◽  
Philosophical Understanding ◽  
Pauline Oliveros

This essay investigates composers Pauline Oliveros and John Cage, their use and abuse of Buddhist philosophy, and how these (mis)understandings influenced and were reflected in their attitudes toward improvisation. While John Cage famously claimed to remove his “self” from his work, I argue that his practices (informed by a mis-reading of Zen through a Protestant ideology) served to further instantiate a self that mastered the body. Oliveros’s interest in meditation, improvisation, and corporeal practices demonstrates an understanding of the “self” as intersubjective and de-centralized. I argue that the ideology of the subject/object, self/other split within the Western intellectual tradition has functioned to attenuate the radical elements within these artists’ work that challenged Western conceptions of the self, influencing Cage’s own philosophical understanding, and marginalizing the improvisatory and corporeal practices of Oliveros.

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