Deep Listening A Composer's Sound Practice Pauline OliverosDeep Listening A Composer's Sound Practice Copytight © 2005 by Deep Listening Publications [All rights reserved, No part ofthis book may be used ot reproduced by means, graphic, electronic, of mechanical, including photocopying, recodis ‘ping or by any information storage retrieval system without the wri permission of the publisher except in the case of brief quotations embodied critical articles and reviews Grateful acknowledgment is made to Andrew Taber for permission to ‘excerpts from Reflections and Research int the Slow Wall. Grateful acknowledgment is made to Mohamed Khaldi for permission to ‘excerpts from What is tention, Grateful acknowledgment is made to Doug van Nort for permission to ‘excerpts from Noise to Signal: Deep Listening and the Windowed Line. Grateful acknowledgment is made to T. J. Szewoxal for permission to repr ‘excerpts from Posten Kill. Grateful acknowledgment is made co Caterina De Re for petsaission to ‘excerpts from Decp Listening Retreat, July 1999 Muerren, Switzerland. ‘Grateful acknowledgment is made ro Maik Yati Kusama for permission to ‘excerpts from Deep Listening Koans and the Wizard af Oz. iUniverse books may be ordered through booksellers or by contacting: iUniverse 2021 Pine Lake Road, Suive 100 Lincoln, NE 68512 1-800-Authors (1-800-288-4677) ISBN: 0-595-34365-1 Princed in the United States of AmericaContents Shoulder and Body Slap with Hanging Out .. “Abbreviated Yoga Sun Salute ‘Good in Bad out (Chi Kung). “Flower Breathing (Chi Kung) ‘The Energy of Rising/Falling (T'ai Chi) Breath Wheel (I’si Chi) Sooke een buh Hb+ Deep Listeninghi Sensing/Lstening/Sounding (1992) Listening Through The Millenaium (1998)+ Deep Listening [A Sexes of Mini Pieces (1992) New Sonic Meditation (1977) “The New Sound Meditation (1989) ‘Old Sound, New Sound, Borrowed Sound Blue, for voices (1994), ‘Open Field (1980) Sonic Tonic (1992) . Rhythms (1996) Scanning—Hearing (1995) Sound Fishes (1992) .. Sound Piece (1998) “Teen Age Piece (1980) \ rban/Country Meditations (1988) Cross Overs (1996) Listening Questions ‘Commentaries Appendix: Reflections and Research into the Slow Walk by Andrew Taber ‘What is Attention? by Mohamed Khaldi Posten Kill by TJ Szeweak ‘Noise to Signal: Deep Listening and the Windowed Line by Doug van Nort a Deep Listening Retreat by Caterina De Re Deep Listening Koans and the Wizard of Oz by Maike Yuri KusamaACKNOWLEDGEMENTS the guidelines, the practice is collective and entiched by the experiences ‘ach individual. seful to Ione for her constant companionship and her dream wisdom, to Gold for inviting me to the Rose Mountain Retreat Center where Iestab- fizst Deep Listening Retreat in 1991. She has shared the teaching ofthe of the body in her teaching. ‘The result of our coordinated teaching is jed inthis book: Tones work can be explored further in This Is A Dream: A for Deep Dreamers and Listening In Dreams: A Compendium of Sosind ‘Meditations and Rituals for Deep Dreamers. Heloses work with Yang syle is avilable on her video. the Pauline Oliveros Foundation for providing the platform for develop- Listening. Deep Listening® is a registered service mark of the Pauline Foundation, k Catarina De Re, Ramon Sender Barayoa and Stuart Dempster for their “writing and support.FOREWORD autumn 1988 when I invited Pauline Oliveros to stop by Seatle on her California fora concert Iwas telling her about the now infamous cistern ‘porthwest of Seattle at Fort Worden in Port Townsend, Washington. As ight I organized a recording engineer to document what we, along paitis who was traveling with Oliveros for the California concert, were fen we realized we had a CD, ate was needed. With her sypiclbriliance, of 1989 Oliveros came up with “Deep Listening”! while working on notes. The ttl was very special because ic capcured perfectly the rwo pri- eferences of (1) che huge, underground cistern, and (2) the process by b the music was performed. The title “Deep Listening” succinctly recognizes ‘of music making that Oliveros has been practicing for many years. It also x the founding of Deep Listening Band, but chat is a story for anocher Oliveros’ timely visit to Seatle seemed to be just the catalyst for her to ongunizng in a more ditece way what was co become Deep Listening and, of course, the various related, shorter workshops. Listening: A Composers Sound Practice handbook, for a handbook is cd what it is, comprises a long overdue culmination, a gathering together, of os life work in Deep Listening, tis cercainly high time the duality of this cil and scholarly information is, at long last, in one place. The reader can knowing that by the time the “Preface” and “Introduction” have been ci, one will be armed with 2 basic glossary and clarification of meanings. is also a specific “Glossary” coward the end that can provide the inevitable quick assistance. One can also expect to be amazed at the well organized, and (if onc will) programmed instruction made available, Experienced istencts,of whom there are many (several have completed the Three Year Program), will not be surprised atthe information contained herein, some have contributed appropriately related picces in “Appendix” and ‘What will be a surprise, as they read through this handbook, is ‘may only now realize the extent of Oliveros’ Deep Listening practice.xi + Deep Listening ‘Throughout this handbook one will see references ro healing, through musi ‘meditation and soundings; as one progresses through the various sections will be regular references to this. Many of the exercises, practices, and the linle pieces seen throughout, offer a healing component. One of the objectives Deep Listening practice is to achieve and. promote health not only for D Listeners but also for those with whom a Deep Listeue: nuay come in ‘Throughout the handbook there are suggested exercises and pieces for individ als as well as for groups. The therapeutic component is so strong in this practic that one can make a case for it being the primary purpose of this work. There as audio, dreaming, and movement exercises throughout containing ether a dir for an indirect healing message or result. Music at the very least should be restorative, and there are many cultures throughout the world where this co ponent is understood to be synonymous with music making. plays a significant role in Deep Listening, There isco scrating that humor is healing and otherwise good for health, and the reader ci look forward to encountering humor throughout. There is special listening ai sounding that take place from time to time in Deep Listening practice that humorous. These moments are often unpredictable, but they are invariably practice from geting out of hand, It is important to keep in mind that humo and seriousness are not mutually exclusive. Humor needs to be kept in bounds of course, bur so should seriousness. Heloise Gold, one of the principle te T'ai Chi and Yoga practice in her teaching, She is also cited—and dese: s0—as one of the primary humor proponents, “Another principle eacheris Tone, acclaimed poet, therapist writer, and repository “dream wisdom” (as Pauline Oliveros puts it) She lads sessions in deep dreaming with paricolar arention to sound dreaming or sounds within dreams. Althou (Oliveros isthe recognized leader in the Deep Listening arena, one needs to the astounding contributions of her assisting principle teachers, Heloise and Ione. The the of them form a woika of commitment, dizection, guid ‘organization, support, and teaching of Deep Listening that is at once active, ageles beautiful, dreamy, energizing, fearless, funy, healing, meditative, moving profound uiet, serous, sreng, and timely—timely in the sense of providing tools to with the increasingly challenging world that we live in. The practice of D Listening provides one wit a psychological space where one may repair at anypaPauline Obveros ‘This handbook provides direc assistance, whether in the context of ‘one’s oven in releasing the creative energy so sorely nesed -oday. ed to have known Pauline Oliveros for 50 years—five decades as of shared much together, and are quietly celebrating this Sedimental gag A Composers Sound Practice barely hints atthe breadth and scope of the Yes, this book is a document of Oliveros’ Sound Practice. But as well it a fine tribute to her skills as a teacher of, guide to, and witer about ing practice. With this handbook Oliveros has written lovingly aboutPREFACE first concern of all music in one way or another is to shatter the ce of hearing, the callousness of sensibility, ro create that of solution we call poetry, our rigidity dissolved when we rebore—in a sense hearing for the irs time.” Lucia Dlugoszewski? cening isan evolving practice that comes from my experience as a com mes, improviser and audience member. My training in music was gen- ered on techniques for how to peeform and appreciate music of the past. ‘of education is generally true for most music students. Encouragement for esng or improvising and appreciation for new music was almost nonexistent ny earliest musical taining. Mose students do not realize tha they have creative 0 make their own music as well a learning to perform taditional music. always fascinated with listening to my environment. From cary childhood been a listener. I grew up in a time when there existed a very rich and dense of insects, birds and animals in Houston ‘Texas in the 1930s. This pe was filled with chirping, rasping crickets, frogs and melodic mocking ds, Sounds ofthe natural environment still engage my attention. ‘pavements and building developments. Houston still has cicadas in corridors as you walk or drive the trees but the frogs have mostly i, leaving their sonic niches unfilled except for the sounds of combus- engines. A modern technological soundscape has emerged. mind that I did not know how to go about transmitting my inner sounds form, I knew that composing was my path,wi * Deep Listening My instrumental training included accordion and French horn, On ry: 1 performed a diverse reperwire induding clasical, broque, popular and ‘isc. played the hom in bands and orchestras—even in a large dance band! ‘Composing continued, and atthe age of ninereen my attempts were finally su fa when I managed to writ a piano piec: in two parts. Listening and notating intense and a struggle for me. I became more and more absorbed in composing Robert Erickson, my composition mentor, encouraged me to improvise’ ‘music. I began r0 improvise and to record the results if T was stuck in wr picce. Eventually improvisation became a way to get my ideas flowing. In 1960, nine years ater I had composed my first piece, I won the Pacis Foundation award fo: my Variations for Sexet.§ Alfred Frankenstein, che music cttic for the San Francisco Chronicle, championed my work and my career ‘composer was launched, “Through the sixties became absorbed in electonic music making, With ci ‘medium I began to find the sounds that interested me and were most similar t the sounds in my inner lisening, Two of my pieces from this period—/ of IV and Bye Bye Butteflwere released on recordings and have become classics of th period. Bye Bye Buster was named the best piece of the 1960s by John Rockwel ‘of the New York Times.? ‘Validation by peers and critics and the small cash prize ftom Pacifica Found _were encouraging and appreciated by me. I was no longer alone with my pasion compose, and I contizued. That is why I fel it so important ro educate, nout and encourage young composer: today I also like te encourage penple wit ‘musical training co engage in improvisation to experience making their own muss [began teaching electronic music at the University of California San Di (UCSD) in 1967. Iwas one of the few who could teach electronic music—a still relatively new co curriculum in American educational institutions. [ esta lished the electronic music program for graduate study at UCSD. ‘During my tenure at UCSD I taught The Nature of Music!9—a large course the general suudent (« course originally devised by my colleague Wilbur Ogden "This course was hands-on. Every student was expected to compose and imp ‘even though most had no musical traning, It was our conviction that appreci ‘would develop through participation in music making.Pauline Oliveres © wi Sonic Meditations!?—a body of work that could be done by persons emia training, Sonic Meditarions are based on patterns of attention. La these pieces are ways of listening and responding Sonic Meditations 3 that many musicians were not listening to what they were performing! ‘as good hand-eye coordination in reading music, but listening was not ily a part of the performance. The musician was of course hearing but allover or attention!? to the spacc/time continuum (global) was not ing. There was disconnection from the environment chat included the cz as the music was played. Observing these phenomena prompred me co human attention processes and strategies. p with myselé.I started to sing and play long tones, and to listen and observe ese tones affected me mentally and physically. I noticed that could change nal sate by concentrating my attention on atone. [noticed that I could body responding with relaxation or tension. Prolonged practice brought Aacightened state of awareness that gave me a sense of well-being, 67 L wrote an article for Source Magazine: Music of the Avant-garde! riled ‘Observations. The article described the journey of listening to what ppening around me and to memories and ideas that were triggered by this Twas involving my students in exercises designed to bring their attention g through observation and sounding. Some of these reults may be in Software for People. Calleted Esays 1962-1980.!5 ‘Bolt quietly with my alarm clack, close my ees and open my ears. As this Poin the curtain rises and the performance begins. My very surroundings ‘eer to come alive, each sound revealing the personality of reason. There ‘axe seveal sound, which became fixed in my ear like some “basso oxtina- | the continuous whirrings of factory machinery in the distance and the Iallow sound of plopping water in a nearby fountain. This backround of sind is interrupted by the piercing motif ofa bird. A sudden breach of air seeps acrass the deck The pages of my book respond with quick napping ‘und. The door at the entrance squeaks and moans on the same pitch lke ‘an old rocking chair then clases with a thud. I can hear the drapery from “4 opened window rustling against the coarse plastered wall, while the ‘desing cord syncopates agains che window pana”wii + Deep Liscening ‘While cll at UCSD I initiated research at the Project for Masic Exper Meditation Project?” met five days a week for nine weeks for four hours a ‘he winter of 1972 with twenty participants. We studied mind, body and practices from a variety of guests and performed pieces from: Sonic Med ‘ily. This research project seeded Dep Listening practice. variety of musial activity in the Hudson Valley and the diversiy of traditi meditation practices available. I seadied Zen, Tibetan Buddhism, Yoga and Tas forms from accomplished teachers.!8 These studies deepened my understand led my first Deep Listening Retreat in 1991 at the Rose Mountain Rey ‘Center'? in Las Vegas, New Meaico, atthe invitation of Andy and Hicoise Gol This retreat took place in a lovely mountain area atcight thousand feet above level. The Center is in a relatively unspoiled location with very litle tech cal sound intrusion except for occasional jet airliners. There is no local taf ‘The location was inspiring for listening, 1 committed myself ro ten years of retreats at Rose Mountain and developed forms of practice that are described in this book. Each Retrea: lasts for one ‘and proposes listening twenty-four hours a day, This includes listening eho dreaming 2s well as waking. A period of silence or non-verbal time isin tach day. “Teaching with me at Rose Mountain were Heloise Gold (taining creative movemen ‘T’ai Chi® and Chi Kung”), and Tone (Listening Through Dreaming”). Deep Listening Reteats were also held for fve years in Switarlnd? 0 ‘Canada and one in Washington State As the number of participants re cach year increased, I answered a request for an advanced level by creating a ‘Year Certificate program?Sin 1995. The firs Certificates were awarded to six poopie in 1998, The cerificate qualifies the holder to teach a Deep Listzning Workshop, Deep Listening Workshops are held all over che world. Workshops int some of the material ofthe one week Deep Listening Recreat bur are more ‘ed in duration and scope, Workshops can be fiom one hour to 2 couple of Summer Deep Listening Retreats are scheduled in various locations.Pasline Olivers * xix as an improvising composer are especially informed by my ng practice. I do practice what I preach. When I arrive on stage, I ‘and expanding to the whole of the space/time continuum of per- d, Ihave no preconceived ideas. What I perceive as the continuum ‘energy takes my attention and informs what I ply. What I play is sly by me slightly (milliseconds) after I have played any altered state of consciousness in performance is exhilarating and ‘music comes through as iT have nothing to do with it bu allow through my instrument and voice. It is even more exciting to prac- er Iam performing or just living out my daily life. d to be teaching Deep Listening at Rensselaer Polytechnic Insticute2® York at beginning and advanced levels, and also at Mills College” F ‘with video chat and occasionalINTRODUCTION practice Deep Listening. The form given in this book has evolved y years ofthis practice in workshops, retreats and classes. Deep Listening? is answered in the process of practicing listening with the under- ‘the complex wave forms continuously transmitted to the auditory the outside world by the ear require active engagement with atten- spted by experience and learning, litering takes place voluntarily jg is not the same as hearing and hearing is noc the same as listening, The onstantly gathering and transmitting information—however attention to ‘cortex can be tuned out. Very lice ofthe information transmicted brain by the sense organs is perceived at a conscious level" Reactions can ce without consciousness. at is consciousness? ess was considered an epiphenomenon by the scientific community riously studied until more recently Consciousness had no location. ‘evoked potentials in the brain appear up to a half-sccond?3 before is wwate of a stimulus, The brain then remembers the stimulus as agin the present moment or che immediate instant in one's sense of time, snes is acting with awareness, presence and memory. What is learned is and retrievable. Information, knowledge of events, feelings and experi- be brought forward from the past to the present. In this way one hasmii + Deep Listening ‘The ear makes it possible to hear and to listen. “To hear physically means chat vibrations oF waveforms that are within the ‘ofhuman hearing (in fequency typically 16be 10 20,000ha and amplitude 0. to 130dB) can be transmitted to the auditory cortex by the ear and perceive sounds. However, the word hear has many more dynamics and meanings wi ‘a cultural history that is continually changing. “To hear according to the Miriam Webster Dictionary can mean “to listen tively, or that information has been received especially by ear, or to hear body or some thing, or to consider something offically as a judge, commis cx of member ofa jury, oF to fully understand something, or to attend hear confession in a Roman Catholic Church”. Listening has very litte definition compared to hearing. Though the two are ofien used incerchangeably, their meanings are different. To listen acco the Miriam Webster Dictionary means “to give attention to sound or sounds perceive with the eat to hear with thoughtful attention, o consider sero “To hear and co listen have a symbiotic relationship with somewhat ‘common usage. | differentiate ‘to hear’ and ‘to listen’. To hear is the physical means that and psychologically. “Hearing turns a certain range of vibrations into perceptible sounds.” Listening takes place in the auditory cortex35 and is based on the the waveforms transmiteed by the ear to the brain. We learn to associate and c ‘egorize sounds such as mama, papa, meow, running water, whistles, pops, ci and myriads more sounds through experience. Many waveforms afte first exp rience are discarded unnoticed without conscious interpretation. Understani and interpreting what the ear transmits to the brain isa process developing fi instantaneous survival reactions to ideas that drive consciousness. The process continues throughout one’ lifetime. Physical descriptions of sound properties and listening do not explicate the ‘nomenal world of perception that takes place in the auditory cortex. ActPauline Oleros + exis Handel in Listening: An Intraduction t0 the Percepsion of Auditory nosound pressure werasion shat will aboays lead to one and only ‘Similarly, there is no perception that always comes from one and variation. n continue to study the nature of physical descriptions of sound and ‘the perception of sound. Physicists can measure acoustics and Peychologists must measure the experience of the listeners. Thus to do with complexity and boundaries, or edges beyond ordinary oF | understandings—i.c. “the subject is too deep for me” or “she is a deep subject that is “too deep” surpasses one's present understanding or has too known part to grasp easly. A “deep one” defies stereotypical knowing the vastness and complexities as much as possible, Simuleancously ght 10 be able to target a sound or sequence of sounds as a focus within the difference between Deep Listening and meditation? is a practice that is intended to heighten and expand conscious af sound in as many dimensions of awareness and artentional dynamics 38, possible. ce for Deep Listening as a practice comes from my background and ce as a composer of concert music, asa performer and improvise.wy + Deep Listening Deep Listening comes from noticing my listening or listening to my lise discerning the effec on my bodymind?* continuum, from listening to artand to life. Deep Listening is a practice and term that does not come from any religious text, even though religious practitioners sometimes use the words. Thich Ni Hanh is a Zen Buddhist monk whose usage of the term “deep liscening”?? fy specific context a8 one ofthe “Five Mindfulness Trainings" chat he proposes. is a compassion-centered listening to restore communication in order to suffering and bring happiness to all beings. Listening (asa practice in this sn ‘would be training to respond with calmness and clatity of mind. It isa deter nation and commitment to reconcile and resolve conflicts. Meditation in all the meanings of the word is found and defined in diverse gions and spiritual practices. Meditation is used in al is tich variety of 10 calm the mind and to promote receptivity or concentration, In religious settings, arention is diteeced to moral and ethical isues, val beliefs and tenets ofthe particular faith and to connection with the divine, 6 divine being, or beings. Whether one is dwelling on something carefully and continually, or engaging a serious study of a particular topic, planning or considering an action, medi tion both religious and secular is attention engaged in particular ways. Th ‘emptying, expansion and contraction of the mind; there is relaxation or “le {g0” and focus (attention to 2 point). Meditation implies discipline and cont ‘There is something to practice! Deep Listening isa form of meditation, Attention is directed to the interp sounds and silences or the soundisilence continuum. Sound is not limit ‘musical or speaking sounds, but is inclusive of all perceptible vibrations formations). The relationship of all perceptible sounds is imporeant. ‘The practice is intended to expand consciousness to the whole space/time timaum of sound/silences. Deep Listening isa process that extends the listcnet this continuum aswell ast Focus instantaneously ona single sound (enga 1 targeted detail) or sequences of sound/silence. In order to acquire the discipline and control that meditation develops, relaxa as well as concentration is essential. The practice of Deep Listening is inetPauline Oliveros «xxv ivity in art and life through this form of meditation. Creativity formation of new pattems, exceeding the limitations and boundaries ems, oF using old patterns in new ways. are Deep Listeners. When you enter an environment where there ate cis of animal, chey ae listening to you completely. You are received. say be the difference beeween life and death for the creacures of . Listening is survival! ideas. Ideas drive consciousness forward to new perceptions and intelligence. Ideas, feelings and memories are criggered by sounds. 00 narrow in your awareness of sounds, you are likely to be discon- your environment. More often than not, urban living causes narrow (spititual development) and understanding comes from listening to the whole spacc/time continuam of sound, not just what one is ity of shaping the sound of technology and of urban environments. g designers, engincers and city planners could enhance the qualitysources and pieces especially composed by Pauline Oliveros and Listening practitioners. energy work, bodywork, breath exercises, vocalizing listening, cises are intended to calm the mind and bring awareness to the body Girelaton, and to promote the appropriate atitude for extending ity tothe entire space/time continuum of sound. This kind of receptviey al for creative activity in the arts and can be applicable wo any discipline. or similar exercises are repeated in each session or class in order forthe to gain experience and learn the practices that are offered. Deep Listening. s process training.*! Each exercise is designed to seta listening process “Actention to listening and ways of listening that may be new to che seeded and cultivated through repetition, practice and discussion, of the exercises provides the opportunity to compare experiences pro- from session co session. These comparisons may help to deepen under- ‘of the exercise and how it relaes o listening and how listening relates to lf or caltre. Repetition brings familiarity, and ease with practice. gh repetition is emphasized, in practice the same exercise is never the ‘epetivion ofan exercise invites the porbliy of new understanding dept aig a desirable practice or tol for living, learn-2 + Deep Listening Summary of the Deep Listening Class First hour Gathering into the circle Question or commentary around the circle Standing for energy building exercises Breathing improvisation Posture correction Second hour Listening meditation (with theme) Jouznal writing (experience of the meditation) Extreme slow walk (with theme) Discussion with partner of the walk Performance of sound pieces Halfhour break ‘Third Hour Rliychim circle Last half hour ‘Dream Sharing oF improvisationPauline Oliveros 6 3 iption of the Deep Listening Practice sions (Activities) of the clas into a circle in a space large enough to accommodate the cirde can be seated on the floor or in chairs. The instructor is aso in “Acide formation is preferred as itis an equalizing symbol and may the understanding that learning comes through shared experiences. sroup stands with space enough berween each individual to do the | warm up consisting of selected energy building exercises. An inner and ight be required according to the size of the space. place. Variations may include Toning or sounding improvisations. then either sits on the floor with excellent posture or in a chair for a period of twenty minutes more or less. The instructor gives the theme isening period is concluded, exch person writes in their journal about experience for ten minutes or more if needed. The journal is private cord of progress fr each individual, Class members are encouraged to mal material isan excellent resource for essays or articles. slow walk is next. Variants of the extreme slow walk are done as accurmulates. The walk is done with and without music selected by the tot. The instructor gives the theme for the walk. For example, walking in ert or walking in a forest. the slow walk concludes, discussion takes place between partners about rience of the exercise for about ten minutes before a return to the circle gh are shared with the whole circle as each partner briefly ells something, ting that their parter shared with them. Group discussion of emerging, and themes is encouraged.4+ Deep Listening ‘ADeep Listening piece is performed. his may be an improvisation with, fora guided improvisation fom Sonic Meditations, Deep Listening Pices ‘Listening at Mill, Pieces composed by formet and present class members| formed as well. [Rhythm circle with hand clapping, finger snapping and foot tapping. The, progresses from sensing heartbeat and studying reaction time, co dappi ‘walking a group tempo, to learning complex polyrhythmie patterns and compo for the circle. Composition of rhythm exercises or pieces is encouraged and fi jated by learning and using forms of notation, Notations can be convent invented. Dream sharing. Dreams are understood asa creative resource. Dreams ate sh with a partner, and hen highlights of dreaming are shared or performed in ‘group. Class members are encouraged to listen for sounds in their dreams, Dit partners are assigned as support for dreaming. Discussion and processing of experiences is interspersed throughout June 24, 2003get about a shoulder width apart. Shoulders relaxed, soles of the feet the earth, knees ltd sof, palms at thesides. Eyes ae in soft focus, stance. Bring your attention to the soles of the feet. Imagine thar ng roots down into the earth. Let the rots be your anchoring to che the soles ofthe feet and lee che energy of she body sink into the soles relaxed. Palms of the hands relaxed, and allow a very pleasant memory to emerge. light up your spine traveling from the tip of the tailbone, vertebra up into the scull, the feeling of the lower body rooted to the earth and the relaxed tion ofthe upper body. ked under a bit to help align the spine. is alignment at different times of the day whether stimaulates circulation of lymph and blood expecially under the armpits iam afin accumulates and stops energy flow.6 + Deep Listening ‘Wrap and Slap ‘Stand with the feee wider than shoulder width apart. Swing gently the hi ‘Side to side to their comfortable wuaximum stretch, and let che arms the palms slapping the kidney arca and side, alternating sides. Gradually allow the arms to ise until che palm slaps the lung point just be the collarbone in front and the adrenal gland to the back above the ki yes are in soft focus seeing everything as the head turns to follow the hips turning. This exercie promotes roning ofthe kidneys and lungs as well sa kind of the internal organs asthe waist turns. The shifting weigh of the body alo ‘mascage tothe soles ofthe fet simuating the idney point? thas is stwazed | the large toe, ball of the foot and the edge of the fot, This point is Bubbling Brook.” Taoist Face Wash ‘Warm up che palms of the hands by rubbing them rogcthet. Place the p the hands over the face and rub vigorously up and down, Each variation i. 9.08 364 times each. Rub the sides of the nose with the index fingers 36 times. Rub che brow sith the chumbs alternating 36 times. Rese the thumb knuckles on the cheekbones and rub around the eye the knuckles ofthe index fingers 9 times. “This exercise stimulate the sinuses and the acupuncture points asociated with “Mouth wipes: Palms of the hands alternately brush the lips 36 times. “Throat pulls: Poll che throat alternately with each hand 36 times. ‘This exerci stimulates the lymph glands Eararea: Using the index inges flick chem so chat the cerebellum receives 9th Make a V between the index and third fingers and rub the cars 36 times. Cup the hands over the ears and chump 9 times. : Stick the index fingers in the ears and do a corkscrew motion then flick the coucward chee times. (Click the teeth together 18 times. Massage the gums with the tongue. Swallow saliva duwn to the dan Picn or energy center below the navel.er and Body Slap with Hanging Out right palm on the left should and begin vigorous slapping. the shoulder out to the palm of the extended arm and return to the slapping across the chest and down then tothe buttocks, down the legs tnd then return on the inside up tothe belly and around te the but- sin, then back to the chest, back ofthe neck and top ofthe head. Then ‘energy down the front of che body. follow gravity and bend over into a hang out. he palms of your hands on the back wherever you need the support sback up, uncuel the spine, with the head the last to come up again. jiated Yoga Sun Salute palms out with interlocking thumbs, breathe in then bring the arms ‘and bend back. Then bring the arms up and over into a front bend. palms of the hands back together and come back up to the starting mn with the palms in front of the heare. Gather enctgy as you bend the knees and bring the palms forward and irs charka, contimue the motion of opening out ro extend the arms again. feeling of opening front and back each time. tthe sume motion opening the nest chakra, then the third chakra, then the the throat, the eyes the third eye and then extend che arms upward with open gahering energy from the universe.8 + Deep Listening Bring the energy down to the crown chakra then guide the energy down ter of the body and store the energy in the dan ten (located below the ng ‘with the palms. Repeat the whole exercise three times Dragon Tail (Chi Kung) Scand with feet abit wider thar shoulders. Rest the palms of the handson. ten. Allow the ight hand to sise up to the right, tun the palm up and across the upper dan Vien (forehead), turn the palm over and float the palm the middle dan tien (heart), surn the palm down and float ic back to rest on lower dan cien a the left hand rises up and traces the mirror image of traced by the right hand. The floating palm is sensing and gathering e passes each energy center, Good in Bad out (Chi Kung) Seand with feet about a shoulder-width apart. Bring the palms ofthe hands ‘with the backs ofthe hand facing each other, ‘Gather energy as you bring the palms back tothe kidneys rising on the tes. St the good energy in che kidneys; make fists as you gather bad energy from thei and spleen. ‘Then shoot the bad energy our with a sound ("shoo") toward the floor as hheels return with a thud to the ground. Flower Breathing (Chi Kung) Bring the palm of the hands up through cencer facing each other Le the fingers form your favorite lower. Con you imagine that you smell the fragrance of the flower? Bring the palims down the sides to the kidneys and around to repeat the ex three times, The Energy of Rising/Falling (T’ai Chi) (Gather ina full ciccle with the whole clas facing each other. Take naturals ‘breathe with palms extended and turned downward toward the earth. Bend! lknees down and up six times with the palms rising and falling. Be aware ‘whole circle as well as your own as palms rise and fill in unison.(Vai Chi) of rising and falling turn che palms to fice each other in parallel ‘of you and continu breathing, rising and falling together. The fall as if lating ina body of water. Do this six times. ing can be discovered by doing these energy (Chi) exercises. These for building and storing energy in the body. The exercises are drawn 3, Tal Chi, Yoga and kinetic awareness practices and are modified ng practice.Wo* Deep Listening Breath The Exercises Breath Improvisation Sanding in a circle, britg your attention to your breath. With shore ot Ip pulls of air use the sound of breaths to improvise a playful piece intera others for three to five minutes. Try not to vocalize the breaths, Notice any fences that you feel after the improvisation. Also reflect on the chythens, te and shape of the improvisation as ific were a composi Breath Regulation Inhale through the nose for the count of 6. Hold for the count of 4. K ‘throat relaxed. Exhale through a small apercure of the lip with a sub voca ‘of the syllable ‘hahhhh’ for the count of 8. Relax and wait for the count of 44 repeat the cycle. Sub vocalization of ‘hahhhh’ restricts the epiglotts and direct energy to the lower abdomen. Commentary ‘When do you notice your breath? Breathing isthe bridge between the voluntary and involuntary—the nervous system and the parasympathetic! nervous system, the conscious at ‘unconscious, the inner and the outer. “A person can survive without the breath for only five to seven minut before deal”. Fortunately we can go shout our daily lives without consciously breathing. Unforcunately his unconsciousness sometimes lead o shallow bret ‘especialy ifthe body is rdatively inactive. As breath reacts to danger or stress breath can elim our awareness,Pauline Olivers © 11 our breathing by attending wit. With awareness and practce we can deeply and this calms our mind and emotions. It is 2 good exercise fvoluntary attention to breath duting the day with a question lite: “How .gnow?” or “How do I feel iF change my breathing?” many breathing exercises from diverse traditions!” chat ae helpful for ne purposcs. Such exercises involve counting inhalations, holding and s alternate nostril breathing, complete breaths and so forth. Our main is bringing attention and awareness to breath and deepening breath. tion is excellent for this purpose. ation is performing something without reference to a text or prepara: cath sounds of all kinds are used as playful sound resources. Shore pulls, pd ike sounds and other variations such as whistling may join together to (piece of about five minutes more oF less. The effect can be deeply fet as g rerurns to normal after the improvisation. is another way to deepen the breath. Toning can be done by giving voice ch usually with a vowel sound held out for the duration ofeach breath. rc breath extension play I is sid because toning has & cgonance on the body that it has a calming (and therefore healing| effect. is another way to deepen breath. Any kind of vocal sound can be used Like the breath improvisation short sounds, long sounds and varia- th lip and mouth sounds can create an interesting group sound oriented will lengthen and deepen the breath during the improvisation. -deeply helps circulation and oxygenation of the brain. Unrelicred stress shallow breathing and oxygen deprivation. In a postive light we need to rslves to overcome inertia and generate power for living. However, we to manage stress for our well being when limits are exceeded. Returning to breathing at stessfil moments can be empowering.12 + Deep Listening Listening The Exercise Sic ither on the floor orin a chait. Ifom the loot, use a cushion to raise the sitz bones. If siting ina chair, fect are flat on the floor. “The legs should be crossed either in full lotus postion, or tucked in body with the knees relaxed downward to the floor. Posture is relaxed wpper kody, chin tucked in slighty, balanced on te ‘sia and knees. lis res on the thighs, or palms folded close co the belly. ‘Byes aze relaxed with thelids half or fly closed. [Ac the sound of a bell or gong listen inclusively forthe interplay of sounds i whole space/time continuum. Include the sounds of your own thoughts. Can} imagine that you are checentet of the whole? : Use this mantra to aid your listening: With each breath I return to she whole ofthe spacetime continu. ‘fa sound takes your arention toa focus, then follow the sound all the end as you return to the whole ofthe space/time continuum. ‘At the sound of the bell prepare to review your experience and describe iis journal. Commentary ‘of sounds using focal atention and he expansion to multiple sources so simultaneously in multidimensions with global attention. It's important ro review your listening experience and to compare your after feelings, sensations intuitions and thoughts and write them ia your} “As experiences accumulate in your journal, pattems of listening may bec ccemable and progress wil become apparent.like a lens, produces clear detail limited to the object of arten- attention is diffuse and continually expanding to take inthe whole ime continuum of sound. Sensitivity isto the flow of sounds and not necessarily clear. For example, the crowd noise at a baseball game jen the focal crack of a bat against a ball is heard. If chere is a home of Deep Listening encourages the balancing of these two forms of that one can flexibly employ both forms and recognize the difference ‘wo forms of listening. ¢ many ways of listening to be discovered and explored. Listening is used rable ways. Here are some of the ways isolation, and interpretation of subtle variations in a sonic clisening in search, listening in readiness, and back- listening. ..highly attuned to direction, timbre, and texture. mnal—configuration of listening and speaking” *° Gottlicb’s secret for listening to non-stop rappers: “Just listen to melody of thei talk, not to the content, as you would listen to a brook’ 5 m you are sending. Are you receiving what you send and alo receiving the 9f the space/time continuum of sound?14 * Deep Listening Sound/Silence “There is no sound without silence before and after. Sound/silencs isa relationship. Sound and silence are relative c one another. Time may be instantaneous to very long. Listening to sounds means silences, and vice vers. “There is no absolute silence unless there is zero vibration. Silence means ‘can hear no sounds. Silence is the space between sounds. Palms of Hands Rub the palms of the hands together vigorously to make them very warm an energize the nerve endings. Hold the palms a litle apart and parallel in fronc of you and sense che ficld* between them as if you were holding a sphere or ball. Your hands i close together or further apart to perceive the effect. ; ‘Massage this bal of energy and gradually bring the palms of your hands folded postion just under your navel. (Men place left hand under right ha women right hand under left hand) 5 Receive the warmth from your palms into this lower body center (dan tien} IF you donit feel the subtie tingling sensations, your energy may be blocked stiff shoulders or other tensions elsewhere in che body. Breathe deeply 0 x the tension and continue to sense the palins of your hands. Soles of Feet ‘The sole of the fet are your connection to earth (even through the floot). sole is sensitive with many nerve endings and connections to the inner ‘As you stand, allow energy to flow to the soles ofthe fect. Soften the knees and grip the earth. Follow the sensations that return from the soles of the feet throughout ‘As you grip the earth with the soles of your fee, there is a reaction force—a of energy from the earch. This reaction force can give you a feeling of strength By bringing attention to the soles ofthe fect,°5 energy can be raised in the ‘The reaction force of gripping the earth with the fet in natural stance can hel ‘promote circulation in the body.Pauline Olivers + 1S. Body notice che impact and effecs of sound throughout the body. ‘you fel sound in your body. jn conversation, receive with your whole body what is being said. ensional Listening both temporal and spatial. As we converse with a partner, there is n us created by the sound of our voices and the proximity of our sound of the conversation can radiate out of the intended intimate bbe heard by others nor necessarily included in the conversation. The ion i overlapping with a more public dimension that we may oF ‘aware of We can hear the dimensions of che space consciously and iy. Simultancously we may be taking in other dimensions—a dog de, other conversations in the same room, passing traffic and so global attention is engaging with numerous overlapping dimensions sounds. At the same time we may be imagining what to say next, We the dimension of imagination or memory. Bars od sans ar i co fs ont to ren or telephone, without breaking any flow. Readiness to listen is always sions of sound/silence are the space created by the sound/silence, the the soundisilence, the duration, the quality; the relationship becween the d the soundisilence, the volume and location (actual and perceived). pth of listening is related to che expansion of consciousness brought about ive litening. Inclusive listening is impartial, open and receiving and global attention, Deep Listening has limitless dimensions, narrows for exclusive listening, Exclusive litening gathers detail and focal tention, Focal artention is necessarily limited and specific. The16 + Deep Listening Listening isa spatil/temporal phenomenon, Sound/silence is continual. Listening also may have a kind of secrecy about it. One can listen to ‘out their knowing it. This is true of radio broadcasts or conversations that in a public place, or when someone chooses to listen surreptitiously to conversation (to overhear).listening exercise, describe your experience in writing in a notebook that for this purpose. Give your experience a title. Notice your feelings about fence and record them. Of course, writing can be replaced by another recording to suit your needs (eg, Tape). Use Your Journal purnal should be private like your own room. This journal is a place to graph, add collage, or draw whatever you would like to record. There is no for anyone else 0 look at your journal unless you decide that you want to of it or all of it. Your journal is your sanctuary for your listening ‘Through journaling over time, your experiences in relation to one smlate meaning. ly and others quickly. Some experiences pop into mind at odd times like creams or ons. Keeping a journal with descriptions and reminders of immediate s, memories and your imagination of sounds, can be surprising and Recording your experiences can help the development of your diferences in sounds you thought were familiar. The slightest cfference you ro new creative relationships. Such material recorded each ime you ough an experience may seem not worth writing down, your perspective ge later, especially in the context of many different experiences recorded time. Allow your inner critic to relax and be calm while you have the18 + Deep Listening opportunity to record your experiences without censonhip. A word, a frag fora paragraph can later trigger your memory ot your imagination and yi fenormous amount of information, Your journal can beas non-linear oF fin you wish. ‘One way to teat your experiences is to review them like a journalist. Bed tive and be aware of felings aroused by sounds and the relationship of so Remember that linguistic thoughts are sounds if you choose to listen to ‘way: Another way is to think of the experience asa dream. During your waking or sleeping life, bring yourself to attention thought —"remembering and remembering to remember”, You might find self listening backward in time to a sound that you didae know that you Recording Observations of the External Soundscape to be relevant information. “Why should we be ineerested in the sound of trafic, or cafeteria noises, orthed of multitudinous conversations, or garbage cans crashing in the street at 2 ‘apin dropping in a quier place? than our mind ean process immediately. Inclusive listening chen opens us to all possibilities inthe space/time Depending on our perspective or emotional arousal, or commitment to goal pals, we can enter the profound interplay of the universe through sounds.Pauline Oliveros © 19 tbe a surprisingly strong relationship between the inner and outer of inclusive listening. Recording che flow of sounds through the ime continuum like a journalist can promote a deeper understanding of ‘and. meaning in the environment. There is always information in that you perceive. does it Mean to Collect All Sounds? {faithful collector of all sounds that can be gathered within its limies of and amplitude. Sounds beyond the limits of the ear may be gathered sensory systems of the body.20 + Deep Listening Extreme Slow Walk The Exercise Moving as slowly as possible, step forward with the heel to the ground the weight of the body shift along the outside edge of the foot to the and across tothe large toe. ‘As the weight of che body fully aligns with that foot chen begin the shifting o the other foot. ‘Small steps are recommended as balance may be challenged. Maintain good posture, with shoulders relaxed and head ere. ‘Use your breathing, “The challenge for this exercise is that no matter how slow you are walking, always go much slower. Commentary ‘The purpose of the exercise is to challenge your normal pattern oF ‘walking so thar you can learn to reconnect with very subtle energies in as the weight shifts from side to side in an extremely slow walk. “You may discovee the point-to-point connections of movement and/or the into the experience of flow. “The extreme slow walk may be practiced any time. Variations that are added i “Walle with music. ‘Walk with eyes closed. ‘Walk singing long tones—one per breath. ‘Walk backwards. ‘Walk with the big toe coming down first then over tothe small te. shifs to the heel. Knees are bent as if stalking something.Pouline Oliveree 8 1 Modes of Thought ise 10.4 partner orto conversation around the circle, notice the mode of js being expressed. g the sharing of experiences here are four modes of thinking that we ean in our discussions: Sensation Intuition isthe rsa of experiencing something through the senses. Ws say that soft texture of fur, or che warmth ofa fire, the depth of the green of, Sensation is asociated with presence and takes place in the present. which are direct results of actions that ake place in the moment hreats to survival. Fesings are associated with the past. is a cognitive activity that involves language and analysis. Analysis on the past, present and furure,22 © Deep Listening “Thy checking on how you are thinking as you listen: ‘Arc you aware of dice sensations? Where do you experience sensation at yo ‘Are you engaged in a daydream as you listen? Ate your intuitions p ‘with imaginary situations and activitie—are your physical abilities enh Can you fly in your dream? ‘Are you aware of feelings as you listen? Feelings develop over ime, experiences. Emotion is more immediate, and quickly changes with i about what gave rise ro the emotion. Feeling is more stable once itis, ‘Can you analyze your experience to gain facts and knowledge? How can you apart your experience and put it back together again’ Can you do this and still be aware of the other three modes of thought? ‘As you notice these modes of thinking in your daily life, note what mode is predominant for you; or notice if there is some kind of balance between Also try co shift from one mode to another in relation to your listening. discern what mode of thinking someone else is using as you listen to Commentary Four modes of thought are borrowed from a mode put forth by C. G. ung book Memories, Dreams and Reflections.+a partner after the Extreme Slow Walk. Discuss the experience of the exer- et Try to use whole body listening as you take in what your partner says. ten-minute period of sharing information return to the full circle. Each ‘speaks for the other sharing with the group some highligh of what their aid thac was interesting, experience ofthe exercise. Notice how much information comes from say, even if cis a ltele. Your contribution is valuable co the whole nentary on of the experiences is an important part ofthe Deep Listening practice. g can be ephemeral and escape us easily. Discussion with a partner of in the circle can be grounding and help to capcure some essence of experience in the process.24 + Deep Listening Rhythm Circle The Exercises Heartbeat Bach person detees and then expresses their owns heartbeat, frst by the body. When everyone is tapping, then switch to hand clapping. Each keeps their own heartbeat and listens to che composite thythms of the grou 60 Beats per Minute (bpm) ‘one person hesitates oF misses, then the next person comes in on time 1 the pattern. ; Multiples and Divisions of 60opm ‘Walkin place at 69 bpm and clap in unison at 120 bpm, ery 180 bpm, 24 30 bpm and 15 bpm. Practice variations by walking at 120 bpm or 30 hand clapping at diferent rates. Practice passing the handclap around the: 180, 240, 30 and 15 bpm while keeping the beat with alternating feet at 120 bpm, Walking can be in place or walking around the circle. Variations “When the circle masters 60 bpm and Multiples and divisions, then have the circle do alternately 180 and 240 simultaneously. All kinds of vatiation be improvised or composed by the members ofthe circle once keeping there (bpm) is mastered and all multiples and divisions are mastered.lapping groups of three and then groups of two. Accent the frst beat ofthe Practice Capping «wo groups of thee followed by three groups of two, The ‘onsaant. When the hands are dapping three or two, the feet synchronize accent or the first beat. So the feet keep time with the accents. So six beas oye atthe same rate can be perceived diferenly with the addition of acents UPS. fing accent pattern is called “hemiola” and is found particularly in African well as other mass group of three, followed by one group of two for a pattern of five. Try pup of two, followed by two groups of three for a patcern of eight. Try one thre, followed by two groups of two for a pattern of seven. g Accents Improvisation lsh a beat with the fet alternating in place. The whole group claps sofly. dual accents a clap at will fora shifting polyshythmic improvisation. Circle: Fast Reaction Time og in a citcle in natural stance, take hands with your pareners with the right ‘and the left palm down. The circle should be close enough that showl- arms can be relaxed. Take time to sense the energy between che palms of dencrgy pulse from the right hand that travels from hand to hand around as fast as possible. The pulsc isa gentle squeeze like a small jolt of clec- Try to react as instantly as possible when you receive the pulse in your lef nd be sending ic almost simultaneously in che ight hand. Keep the pulse around the circle for afew minutes, Next add a whisper to the pulse— that the sound of breath is traveling with the pulse around the circle. da fl-voiced “ha”, reaction time for an individual is one-tenth ofa second so if there are 20 in the circle, the time for one cycle should be about 2 seconds. Notice the n attention as the pulse speeds up and slows down. Keep trying to speed ‘own reaction time in each eyele of the pulse.26 + Deep Listening Commentary “The purpose ofthe rhythm circles to learn to listen and improvise with rhych Heartbeat rates related to 60 beats per minute (ratio), and fastss-possib tion time is studied, Fast reaction time is essential to survival. Ie is also in for responding co a variety of situations and particularly music, dancin sports. Fast reaction time ean increase your ability to discern and refine ry ‘whatever the discipline. “The individual learns how to be a part of a rhythm oycle and to express lap or pulse. ‘As the group becomes familiar with the potential and possibilities of terns, many viiations can be attempted and the members of thecircle pose pieces for che group.Pauline Olivers © 2 Recording sound recording has developed for more than a hundred years from Tojinders in the 19° cencury to magnetic tape in the 20° century to the jn the 21* cencuy.56 Fortunately itis now possible to take a portable Gevice anywhere to record sounds.>? The following exercises may be ga lap cop computer with a recording edicing program.%# Recording ne with the internal microphone however best for better quality an icrophonc is recommended. sminute recording, Edit the recording down to the best three minutes, th your own file to make a three-minute piece. piece a ttle Listen to the results in a composition recital in chss. After ggconstructive criteria the class members give each composer feedback your home environment. Give some attention to placing the microphone ptegic location. For che piece using othe files, use mixing techniques only. be fuded in and out a desired, ‘and urban environments are full of pulses and patterns. ‘iy o record inweresting pulses or patterns that you can find in your daly environment repeating sounds. They may be extremely rapid to extremely dow. The may be natural, mechanical or variety of processing techniques such as mixing, filtering, harmonizing, hifting and delay make a three-minute piece using your own and others files.28 © Deep Listening Commentary Field recording is a great way to become more sensitive to sounds. tend to focus attention on sounds that ordinarily are not in your ‘When you listen to the environment that you want to record, listen and without headphones until you fee! that you are capturing the soun; istcally as posible. Try different placements of your microphone as well, “The compositional elements in A Study in Mixed Environments include disparate spaces together to create a new kind of space and to juxtapose so unusual way.Deep LisTENING PIECES range of notational practices employed to present my work as a aposer includes conventional staff notation, graphic notation, sphors, prose, oral instruction and recorded media Sonic editations are notated through prose instructions or recipes. The etations for Sonic Meditations were presented in written form only ‘many trials with oral instructions given to many different people. though Sonic Meditations are in print I often vary or revise the ig use to transmi che instructions in new sieuations. instructions are intended to set an attention process in motion n a participant and among the group that can deepen gradually repeated experience. A definitive performance is not expected a5, ch performance can vaty considerably even though the integrity of guidelines will not be disturbed and the picce will be recognizable time. ‘central concern in all my prose or oral instructions is to provide on strategies for the participants. Attention strategies are noth- ‘more than ways of listening and responding in considerstion of others and the environment. —Pauline Oliveros, 200330 + Deep Listening Sound Cycles (1994) by Stan Hoffman Each participant chooses a sound to make during the piece. Always use sound throughout the piece. Sit in a large circle, Participants First cycle—Alone: intend to sound separate from any other sound. ‘Second cycle—Dialog: intend to sound immediately before or after another. ‘Third cyclo—Together: intend to sound along with another sound, your sound fora long time. ‘Suggestions and Variations ‘The frse cycle works best if there are not too many people attempting to slone. Ifyou have a lor of participants you can either have only some so ing the frst cycle or perhaps double the number of cycles, assigning differe ticipants to different alone cycles. ‘The group could agree on some theme or guideline for selecting sounds. Wi this piece was first done at the Deep Listening retreat in Washington June the participants were given written parts which specified a sound (For exam dee, sun, sky, and everyone’ favorite fern), how many times to sound dull ‘each oe, and whether to sound alone, in dialog or rogether. This isa to handle larger numbers of participants. It aso increases concentration bes you don't know ahead of time what the intentions of the other participants 2t€ to when to sound or with what intention.Pauline Oliveros 31 ive Environmental Composition (1975) iveros (1975/1996) ac explores an environment to find a listening place with some- ‘to hear and listens for a while. panties the other prpat tors found seing plas ‘be one of more places with contrasting sounds. dcipant finds 2 way to enhance, nullify or otherwise interact with the ds that che group goes to hear. ipant finds way to connect ll he sounds, ether literally, metaphorically32 * Deep Listening Earth: Sensing/Listening/Sounding (1992) by Pauline Oliveros Make a circle with a group. Lie on the ground or floor on your back wi head towards the center of the room, ‘Can you imagine leting go of anything that you doric need? ‘As you feel che support ofthe ground or floor underneath, can you imagine i ing the weight of your body as i subtly shifts in response to the pull of ra ‘Can you imagine sensing the subtlese vibrations of the ground or floor supporting you? ‘Can you imagine your body merging with the ground or floor? ‘Can you imagine listening all thai sounding a ifyour body were the whole “There might be the sounds of your own thoughts or of your body, narra sound birds or animals, voices, sounds of electrical appliances and machines. Some: might be very faint, some very intense, some continuous, and some intermi {As you are listening plobally, can you imagine that you can use any sound you hear 25a cue either to relax your body more deeply or to energize it ‘As you sense the results of this exercise, can you imagine including m zmore of the whole field of sound in your listening? (Near sounds, fat $0 internal sounds, remembered sounds, imagined sounds.) ‘As you become more and mote able o use any sound, whether faint, ordi intense to relax or energize the body, can you imagine becoming. ‘wate of all che sounds possible to hear in any moment? ‘Can you imagine allowing yourself vo express the sound of your breath aj continue your global listening and deeper breathing? Can you imagine expressing any sound that comes naturally with your (Can you imagine continuing this Sonic Meditation by sensing, listening, brea and sounding? (Can you imagine that you are sound?ose of tis synergistic project isto promote and encourage listening in as as possible in unusual ways or any ways that are creative. Ie isan ‘o contemplate the nature of listening over a three-year time span 5 2001) to listen to change—listen in order co change—tisten for change. you ate doing could be a part of this project if you are listening. rion could mean sharing your perceptions on this list as we are already engaging in a project that you could share. I have begun early with Ear Piece last month in Germany. Ear Piece of thirteen questions, which explore the difference between hearing and g, An incerviewer asks the questions in their native language, recording , answers and ambiences. The material is edited and mixed with another ambience to create a radio piece. ‘was commissioned by Studio Akustische Kunst and produced at WDR. bby Klaus Schoening. I want todo this piece in as many couneries 2s 1 the appropriate language ofeach country. Maybe I'll have a big mix down340+ Deep Listening Ear Piece (1998) bby Pauline Oliveres (1998) 1) Are you listening now? 2) Are you listening to what you are now hearing? 3) Are you hearing while you listen? 4) Are you listening while you are hearing? 5) Do you remember the last sound you heard before this question? 6) What will you hear in the near future? 7). Can you hear now and als listen to your memory of an old sound? 8) What causes you to listen? 9) Do you hear yourself in your daly life 10) Do you have healthy ears? 11) If you could hear any sound you want, what would it be? 12) Are you listening to sounds now or just hearing them? 13) Whar sound is most meaningful to you? © Copyright 1998 Deep Listening PublicationsPeuline Olives» 35 ironmental Dialogue (1996 Revision) gine Oliveros (1975/1996) erson finds a place to be, cther near to or distant from the others, either or out-of-doors. The meditation begins by each person observing his ot breathing. As each person becomes aware 0° the field of sounds from the teach person individually and gradually begins to reinforce the pitch ‘one of the sound sources that has attracted their attention. The sound is reinforced vocally, mentally or wich an instrument. If one loses touch sound source, then wait quietly for another. Reinforce means to ‘of to sustain by merging one’s own pitch with the sound source. Ifthe ‘the sound source is out of vocal or instrumental range, then it is to be mentally. of tis meditation will probably produce a esonance ofthe environment. ‘the sounds will be coo short to reinforce. Some will disappear as soon as nt begins, Ics fine to wait and listen. When people gather together for an event, isis a wonderful opportunity to ere- and instrumental wnund experiences that canbe performed by everyone. In vocalizing is used ro bring about deep breathing, which promotes the een tothe brain. Gesing osogen to the brain can be refteching, releasing preparation for lsening, Sonic Meditaios by Paine Olivers, Sich ns, isa collection of participatory pices 1971-1989 intended to provide ined and untrained musicians with the opportenity to participate together in iented music which can be made simply and ipontancously Environmental 1s fom this collection and i offered herein the Rotunda to help resonate the ere in Sacramento California.36+ Deep Listening We Could (1980) (November 9, 1980) “When a group is together, each person (after a focus is established, or ides a sentence beginning with “WE COULD...” in as many ways as ‘Time could be limited, of open-ended. ‘Ihe sentences could be “The group could vote on subsequent action according to the sen enjoy imagining what they could be doing,Paslne Obie 637 e Together Because (1980) 1, 1980) group is together, each person finishes the sentence “WE ARE BECAUSE...” in as many ways as possible. When there is consen- cesentials of the group, then each person finishes the sentence “WE ETHER LIKE...” (using a natural analogy or metaphor).38+ Deep Listening Any Piece of Music (1980) (November 9, 1980) Everyone answers the following questions in as many ways as possible: 1) Ifyou could write any piece of musi, what would you write? Assume Iknd of restraint exists, ic. time, money, existence of resoures or 2). How would you achieve i?‘The following meditations were composed especially for the March process journcy to Egypt led by lone with Andrea Goodman, Alesandro Ashanti and Pauline Oliveros. [twas intended that there would be one listening meditation given each day. The meditations should be done fone ata ime. «sound chat you want to hear. During a designated time, such as a day take note of when and where you hear the sound. the field of sound that you are hearing, select a sound. Focus on it and ‘twith your imagination. Continue to hold and amplify the sound, even ‘eal sound has stopped. When you are done, scan your bodyimind and. ooking —what are you listening to or for? ‘sound that attracts your attention. Imagine a new ot different context for that sound. cay to your own footsteps. sound come from? that your ears have extended range above and below the normal range of 20kk2. What could you be hearing? find an unsual melody? Feeling sound, where does ic center or czculate in your body—psyche? heart sound. (Active) ‘or crowd can you hear with thei ears?40 © Deep Listening ‘What is the longest sound you heard today? What isthe sound of ou group—of belonging of not belonging? How d listen to the field sound of the group? What does the leacer listen for? The ‘member? How do you tune in or out? (Center though what is sounding. If you cotld side the waves of your favorite sound, where would it tke ‘Are sounés going out or coming in? Imaginary improvisation: You are holding the possibilty of making. sound. ‘Sounds ate coming and going and yet creating field of ound, “Where have you heard the most sounds? The most vatiety? The most di ‘As you listen, the particles of sound (phonons) decide to be heard, affects wat is sounding. The relationship is symbiotic. ‘As you lixen, the environment is enlivened. This is the litening effect. © Copyright 1999 Deep Listening PublicationsPauline Oliveros © 41 in a circle with feee about shoulder-width apart and knees a litte your hands by rubbing palms together until you fel the heat. right hand over your own heart, Place your left hand on the back of hand partner (back of the heart). natural breaths sing/chanv/intone “AH” on any pitch thae will resonate Sense the energy of your own heart and that of your partner over the several breaths, imagine that the heart energies are joining together for healing yourself The Heart Chant cnds, gradually rlease your palms and bring them for- lel infront of you. Sense the energy between the palm as if chere were ‘or ball chat can be moved around. Then bring your palms to your own {fold them over and store the energy.VK 42 © Deep Listening A Series of Mini Pieces (1992) (May 15, 1992, San Diego) Only the performer knows that she is performing, “Thrugions the emo, sb peer done in enneion with are a series of examples. All encounters ate to be considered as performances Principles prevail ‘those principles? What are the examples? 1, Always be moving toward a goal. Always be actually doing somethin be aimless. 2. Always speak your native language (determine what that is). 3. Always observe your state of mind behind what you do or say.y Sonic Meditation (1977) specified time have a randomized cue (or cue synched with a slowly recur- iyi) and median mtpend wit voudoncae44 + Deep Listening The New Sound Meditation (1989) Listen ‘During any one breath Make @ sound Breathe , Listen outwardly for a sound Breathe ‘Make exactly the sound that someane else has made Breathe Listen inwardly Rrathe ‘Make a new sound that no one else has made Breathe Continue this cyele until there are no more new sounds.Pauline Olivera 45 Sound, New Sound, Borrowed Sound Blue, voices (1994) line Oliveros ynd—A sound that you remember from a long time aga \d—A sound that you have never made before. sound—A sound that you borrow from someone else. xd—A sound that is blue for you. inwardly to find your sound to be expressed vocally. Voice each kind of new, borrowed, bluc—fiom one co three times within a time frame five minutes. Pace yourself by listening to every one and everything, time for ech of your sounds. Voice your sound just before, just after of46 + Deep Listening Open Field (1980) ‘When a sight, sound, movement, or place arracts your attention during you life, consider that moment an “art experience’. Find a way to record an i of this momentaty “art experience” using any appropriate means of mediz these experiences with each ocher and make them available ro others.Pauline Oliveros © 47 Tonic (1992) pecformers develop ways through subjective and objective testing to what tone or sound, or combination of tones of sounds a wel as a color ‘masks and costumes is most beneficial for a particular person. ‘means that which produces feeling of well-being in a person. The demonstrate an inviting process to che audience. audience members ae invited to participate in a way facitated by the ‘which results in an orchestration of individual portraits enhanced by ial lighting, masks and costumes in a gradually changing tableau,48 + Deep Liste Rhythms (1996) ‘What isthe meter/tempo of your normal wall? How often do you blink? “What is che current tempo of your breathing? “What isthe current tempo of your heart rate? “What other chythms do you hear if you listen? “What is your relationship to all ofthe rhythms that you can perceive a50 Deep Listening Sound Fishes (1992) For an orchestra of any instruments. ‘Considerations Listening is the basis of sound fishing, Pill the sound out ofthe ar like a fisherman catching a fish, sensing its ‘energy —when you hear the sound, —play i “Move to another location if there are no nibbles or bites. ‘There are sounds in the ar like sounds in the water, “When the water is clear you might see the fish. ‘When the air is clear, you might hear the sounds. November 1992 Fairbanks, Alaskaind Piece (1998) parles Boone and his San Francisco Art Insitute Clas ine Oliveros piece, a sound could come from any sort of sound source. The sound be shorter ot longes, softer or loudes, simple or complex but not identifi- a fragment or phrase of music (from a radio or recording, for example). und used should have its own character. Sounds that are difficult to iden- be more interesting; Sounds that come from unusual sources, methods ton ot locations might have more interest. The sound soutces might be Interesting (or not) and could be staged to enliven the performance space interesting audio as well as visual and dramatic design. Sounds could be distant with stationary or moving sound sources. on prepares a number of sounds to present within a predetermined ive. 10 minutes or longer. Bach person may have as many ot few sound. as they want. Each person devises their own time scheme and staging for 1 within the given duration. The piece begine with the fist sound and ate activated before, after or exactly with another performer's sound, The of the piece may be predetermined or if time is not limited the picoe gp on until the energy is spent. 1998 on, New York= 52° Deep Listening Teen Age Piece (1980) ‘Some concealed—Some in Sight Long sounds Calls ‘Humer’s Calls ‘Rung Sounds or Sung Sounds Rhymes: ‘Short sounds ‘Repeated Sounds Insults Partners June 22, 1980 ‘Sheridan Park, MichiganPauline Olsere © 53 Country Meditations (1988) ; roadway-—eyes closed—distinguish size shape make of car by the speed and health of engine. rees—what kind of tree makes what kind of sound?rr 540+ Deep Listening Cross Overs (1996) Sound a word or a sound. Listen —surprise. Sound a word as sound. Sourd a sound as a word, Sourd a sound until it isa word. Sound a word until itis a sound. Sourd a sentence of sounds. Sound a phrase of words April 2, 1996 Evanston, IllinoisLISTENING QUESTIONS of possibilities is sound” is your earliest memory of sound? How do you feel about it now? do you notice your breath? » you imagine composing or improvising piece based on breath chythins? sat sound reminds you of home? ‘you listen for sound in your dreams? What do you heat? How docs it you! distinguished historian, William Hl. MeNel, has recently argued in his Keeping Together in Time that “coordinated chythmical activity is funds- 10 life in society.” ‘you imagine tracking a rhythm partemn in your daily life and writing ie you imagine a shythm pattern forthe chythm circle with your own form ofnnotation? Can you imagine composing or improvising a pice for voices using attention bat action(s) is usually synchronized with sound? fnen do you feel sound in your body? sound fascinates you! What is a soundscape? are you hearing right now? How is it changing? ‘many sounds can you hear all at once? ow far away can you hear sounds? 55.Deep Listening ‘Are you sure that you are hearing every thing that there is to he “What more could you hear if you had bigger ears? (or smaller) Can you hear mote sounds fyou are quiet? How many more? ow long can you listen? ‘When are you not listening? Can you not listen when something is sounding? “Try not listening to anything, What happens? How can you not listen if your ears never close? ‘What meaning does any sound have for you? What is your fivorite sound? How is it made? When can you he hearing it now? ‘Whats che soundscape of the space you are now occupying? How isthe soundscape shaped? or what makes a soundscape? “What is the soundscape of your neighborhood? What isthe soundscape of your city? How many different soundscapes can you imagine? ‘Whar would you like to have in your own soundscape? ‘What would you record to represent your soundscape? ‘What sound makes you speculative? What sound gives you chills? ‘What sound raffles your scalp? ‘What sound changes your breathing? ‘What sound would you like whispered in your ear?® CoMMENTARIES ed how I go about designing or instilling creativity in my students. This portant thing for me is facilitating a community of creative interest. {sinborn—a birthrighe that is often suppressed by social imperatives. 1 classes to open the gates so that the creative spirit of the students can “Ido this chrough listening and encouraging listening, shaving and dis- “My studens listen by doing field recording, then sharing their fils to ‘The students also keep journals of thee listening experiences. is helps, $0 itis not about “instiling’—that would not be fre, It’s not designing” creativity—I dont think that energy can be designed. I believe tating a listening, cating and sharing environment is an invitation to beginning work in Deep Listenirg practices has been primarily inner 4s such is noc something that ] chose to open up to the whole list such a nice list as this one! My experience is that DL—for me Is a 9g. When I realy listen in ths way I hear dificrendy, in che sense ely being open to listening changes how I perceive sounds, which in turn Deep Listening is found in all aspects of creative work, across alll es and artistic disciplines. Boing heard is incredibly empowering, 5758 * Deep Listening «nd being heard can be described as simply being listened to, in all the son-andible ways we communicate with onc another. This is bow T undersa Monique Buzzarté July 25, 1995 m ‘just wanted to share this lide vibe with you: That overtone singing T at the Deep Listening workshop has sure come in handy for pacfying, Aria (now only 11 days old). If she's a lite fussy, I just startin and it graby ‘actention right away and she quiets and if go on long enough, she'll. sleep. [did this atthe hospital, when she was less chan a day old, and i Bike a charm Did me good t00. ‘Thave a cheory: chat good, in-rune (just-in-rune) singing di ‘early years of a child’ life, will result in a highly developed pitch sense in stage. Yours, Tom Dill v ] As others have mentioned, encountering the DL concepts helped focus revelations of my college years came from watching him, when he thought no one saw him, out of che college cafeteria window. He was 2 courtyard repeatedly lapping his hands, curing a few degrees, cami ing, and clapping again; when I tried it myself later, I was amazed at how! sound would change with each turn, Joe ZiteAPPENDIX Taber cof learning a deeper form of meditation in sound is both intriguing It is one that brought me to the eventual enrollment in a class, hhad no preparation for, and no idea what to expect. [had taken courses ous institutions from leadership training camps to martial arts schools had taught me a little as to the great powers which meditation holds, but that really deal strictly with the beauty of calm relaxation and the focus 0 accomplish this have so far ranged from centering exercises, breath jtions, and the slow walk, just to name a few. In particular, the slow walle interesting to me. I had previous experience with walking in a sort of ion, but che meditation was meant to help me focus my body and ye coordination, not co relax and help me become better aware of myself. jnning the cxctcise I found that taking note of my movements and co slow them down with each step, whilst listening on all that was happen- ind and maintaining my balance caused me to focus very hard on taking hing one step at a time, literally. The mixture of the soothing music with an experience the like of which I have seldom had in the past Iti this, has sparked an interes to further delve into the meditation practice of the “A slow walk isa form of meditation. Patcipant are invited to notice ir breathing, to place their fet gently on the ground, to move slowly foot to foot and to appreciate che “beingness” of things along the instructed, I began the exetcise concentrating on my motion. Ie was the ne 1 ad really done so for the sake of just tclaxing. By feeling the motion 5960 + Deep Listening of my feet as they rolled from hee, to blade, to the balls and toes, Iwas the very first time of the very seructure and nature of my feet. How well d they ae for walking, and how functional. It was sich a sooching and deep ‘Then T began to notice the presence of sound, the creaking wood floor iy feet, the shufile of socks against the lacquer, and the swish of jean ‘against itself. The drone of the room echoing its shiythm into the backgroun the eventual wave of music that came from the stereo. All ofthese auditory ‘ments combined to play as a sort of soundtrack to the act of walking, w seansformed into an art When you practice walking meditation in the moming, your move ‘ments will become smooth and your mind will become alert. You be more aware of what you are doing all day long, In malking decisions, you will find that you are more calm and clear, with more insight ‘compassion. With cach peaceful step you take, all beings, near and. will benefit (hich Nhac Hanh, The Long Road Tarns Ts Joy) iBeS cnet Ser he esas sk help us come to greater appreciate all the wonders and gifts of life. This i. ‘say, however, that one is guaranteed a deep and moving experience. But S Breathnach in her book Simple Abundance, warns against such expectations “Sometimes we expect to experience immediate transcendence and disappointed when it seems as if nothing is aappening, Let go of expec: tations and life will unfold, step-by-step.” (Garah Ban Breathnach, Simple Abundance, A Daybook of Comfort and, Since that class Ihave done my own slow walk on 4 separate occasions asa to focus ot just clear my mind, and lave found that with each successive ts able to go deeper and deeper into my relaxed state, ro the point whete increasingly dfficule to “wake up” from my meditations, but not unct ‘And as [have researched more about proper technique and furchering my eB tence, Thave found some very useful and powerful insight into my own abilities “"Walleas slowly as you can imagine walking. Then slow down even more! (Tarthang Talk, Kum Nye Relaxation)= 62 * Deep Listening ‘maintain your balance and breathing, Ics important co pay attention to th rer of your strides, and the awareness of your environment. There are derailed suggestions depending on your goal for the meditation, but ‘ments ring true forall. 'As I have combined what I have learned over the past few weeks, appreciation for this art. And, it has broadened my apprec ‘new to me. However, it has also given me a ltd bit ofa glimpse of just ‘de Tknow and how much I have yet to leatn with regars to meditation, doy tening, and myself. And if there is a word that sums up the way to at knowledge, I cannot think ofa better one than “practic.” Bibliography (Charles Maclnerney, et l. “Expand Sarch Ban Breathnach, Simple Abundance, A Daybook of Comfort and Jey “Tarthang Tall, Kiem Nye Relaxation, ‘Thich Nhat Hanh Foreword by H.H. the Dalai Lama, Peace Js Every Pash of Mindfulness in Everyday Life, Bantam Books. ‘Thich Nhat Hanh, The Long Road Tas Te Joy pe ECE ORS ERE Pog BS RS3are five definitions of attention in the Encarta dictionary. The first is com- snental focus oF serious consideration, The second is intrest: to notice js interest in. The third is appropriate reatment: care or tending v0. The js affectionate ac: a polite, considerate or affectionate act. Finally, che fifth ton is military. a formal standing attitude assumed by members of the forces in drill and often when receiving orders, with fee together, eyes for- d arms atthe sides. phough these definitions seem quite different, erly I chink they can all be to che same action, which is to correctly use out five senses. In order to se, gmell, touch or taste, one must first concentrate, the first ofthe five defini- mncentration is using the power of the mind to focus on the =xternal envi through one of the senses. So for example, when listening wo a ecord, in eapbear the record I must concentrate. The second thing I mus: dois take an in what I am hearing. Without this, I may be receiving the information ‘my ears but not processing ic through the mind. For example, if | am ping and children are playing outside, I might hear them chrough the ears, not know what they have said because I did't take an interest, the see: finition. Then, once the sound is processed in my mind, it isimportane to his sound appropriate sreaimens, the third definition! This is where probably x people fill short in chat they may hear the record or childrer playing, but it enough care or tending to. This is where an affectionate set may come Once the mind has cared about the information reccived it can act on it gy lke feeling certain emotions, or making a decision to dose the win- the children’s voices. The fifth definition, the military stance of arzention, she same, in that it shows the concentration, reciving input, and caring the superior officer requting the stance. The accumulation ofall chese if attention” is the act of using our senses, ic begins with the ability 0 con- Next is the ability to process our external environment through our by caking an interest. Titd is giving care and tending to the information received, then fourth is responding to the information by an affectionate summation of these properties creates respect. In our eas, ic is respoct ‘our senses have heard, seen tasted, smelled or touched.A+ Deep Listening Posten Kill by T] Seewenak During the time thar 've been involved in the practice of Deep Listening, Ty rnotioed a significant change in not only the way that I've been listening to and the ambience of the world around me, but also to the way that I creating and thinking about music and sound. I fel that now instead of sim tening to sound, | am instead exploring it—feeling around in all of the et and peaks that speckle the surface of any sound or soundscape. | found this pay ularly useful ina recent project of mine, which documented the visual and Lingerprint of the Posten Kill, a local river that traveres the land Grafeonville and ‘Troy. [ composed the piece to be a sort of moving ‘complimented by the huge variety of sound that the complete tiver offered. Ing paper I will explore using words the sounds that I heard, the emotions that d sparked, andthe efor chat I took to try and bring them co life for my audien I searced to film near where I intended the final piece co end, about 2 space that T found was near the base of the fall in a small pool hat cll the side of what appeared to be a broken down retaining wall. The lapping of the crested waves agains the broken stone gave an amazing bj sound field, It almost sounded like a combination of course sandpaper piped through a megaphone over the sound of an almost empty plastic de being shaken quietly in the background. A few meters behind this s placid pond, dotted with small islands and broken trees breaching ouc water [ sat on a sandy shore far away from the waterfall, as to not catch, sound yet, and set the microphone on the ground just atthe water's resulting sound was a windy plain that was only interrupted by short children laughing in the distance. After a shore while, a flock of geese flew o head, squawking,roisily in the right channel of the mic. Leaving here I drove a shore while down rt. 2 until T came to the first ‘over the rive. Climbing down the embankment on the lefeside, I climbed a 1 few strewn rocks until I was in the stream and underneath the bridge. resulted in a most chaotic sound, as the water crashing around the rocks side of the bridge reverberated over each other again and again until the ai ‘completely sarurated with its sound, To try and capture the sound of the fi leaving this spot. | positioned myself just under the bridge, with one-half of ‘mic facing downstream and che other to the river under the bridge. This an interesting effect where it almost fees like yout head is being tornPeuline Oliveros @ 65 stream as the sound travels out one channel and into the nest. Traveling ‘upstream, I parked at Shyne Av. and recorded simply the ambience of the assing by. This poinc is where I believe the river is moving fastest, and the rushing water permeates the ar. climbed down to the river's edge, and the microphone directly over the water, bt pointed up. This creates a sort weep as the river rushes by-—a sound that makes even the charging. feacem tame! I found myselfnext on Creck Road, neat rt. 2's second crossing. ‘my final soundscape for this area, I mixed recordings of several loca. rst got an up-close recording of water shestng over a large occ near the the rivet. This resulted in a oud bubbling and gurgling sound that had a p tone combining with the soft treble of a small group of rapids nearby. fet prior to this, the water is very genele and rolls through a large bed with gray banks on cither side. [sat next toa ere stump with a white rock zd on it and simply pointed che microphone upstream. This resulted in a as the water slid by to the rapids behind me, with the wind caressing the one every so often, Rounding out the recordings ofthis location was a ap sounding of the water as it passed through the slower portions of che ite area. This finished the soundscape with gentle undulations as the aves slapped the river edges and passed by. ling past the next few recording locations, I stopped ata small creek by ll Airport. After dashing across a small runway, I found myself right at 's edge in a sparsely wooded atea with tall weeds and an abundance of At this location I chose to not record the water at all, and instead just ‘mic at head level and recorded the few birds thae were out on this sunay think that this was one of the recordings thar I was most pleased with, as calls came out extremely crisp and the only other sound is the wind iy buffeting the microphone. I can sil almost feel the sun resting on my face the birds hopping through the branches when | listened to it. Going back n, I stopped at what appeared to be a popular fishing spot where the Kill is joined by another river as it journeys towards the Hudson. ly this spot was unusually windy, and I was forced to place the mic a tee and sort of point i towards the junction of the river. When che of che river wasnt completely drowned out by the sound of the wind crash- ist the microphone. The resulting soundscape was very relaxed as you bear the river slowly running by. To try and get a better recording of this ed about a half-mile down this stream to a point where i¢ was guarded banks. In this area I got a most interesting recording (which is also the that I used in my pulses/pattemns project) as T tried to get an ‘up-close’ g of the soundscape. One location I recorded was a small ple of sticks cs that were caught up against th side of che river, bur remained clumpedEa 66 + Deep Listening together with the water flowing over them. The water shifting over this gy seemed 10 enhance the natusal sound of the rivers ambience and resuhd cexremely crisp sound princ ofthe river. [think that this recording rally the ambient beauty ofthe river che way that I wanted to and was a stark to the rapids I was recording a few miles downstream. You cit almost he clear the wate looks during this recording and the slow bubbles and und seem 0 just naturally roll out of che speakers, Ar this same location I ‘ured the sound of the warer rushing around a tree that was growing o river itselé. This recording was very similar to the previous one I did, ex loses some of its depth in the recording, and seemed much more thin previous ensnarement of sound. "Moving further upstream and out of che flat grasslands where my p secordings had taken place. I started to push closer to the source ofthe into the mountains. The first soundscape that I chose was a tiny steam about 10 feet away from the main tibutary ofthe river. At this point the} ‘much closer Co its source and the river was docted with boulders of ‘obstructing the waters path. The section that I recorded seemed to be the rivers floodplain, but still had a small amount of water passing through resulting small stream cut its way through the small cracks ofthe remaining i ders and rocks with a very peaceful fingerprint, but quiely in the backgo ‘you could sill catch audio glimpses of the crashing that the still swollen caused a few feet away. Additionally I went out into the middle of the stream and placed the mic direcly in front ofa large boulder that I climbed top of I was really surprised by the resulting sound—the water crashed, the boulder very much as I expected, but the it scemed to be coming obstruction in waves instead of a steady torrent. I mixed these two recording and out of each other when I ereated my final piece and the wave nature main ctzeam combined with the spamdic peacefulness of the small ti ‘made a large and deep soundscape. “The next recording was what I wanted to be the ‘climax’ of the piece: cading waters by the junction of rt. 355 and Blue Facory Road. ‘wanted to capture the fll body of this soundscape so I ttied a novel way turing the sound. Hiking down to the main outcropping that actually ‘over the edge of che waterfall, lowered the over the edge until I sed justal all ofthe cord and the mic was 10 feet below me. The result was exactly Wh ‘wanted it to be—a complete saturation of all the audio spice with an int pounding of water. Itsounds almost as if you were standing right inthe mid the falls and the water was crashing down on your head, invading all of space, not even leaving enough room to breathe. To add even more body recording I went down to the base ofthe fills and just picked up the aPeuline Oliveres = 67 eras it poured over the second smaller falls and subsequently rushed down “This picked up a loc more of che treble sound thatthe waterfall was ce. ealy, complimented the rumble of the main falls nicely. When these two star cere mized, they were easly the most powerful recording in the docu. 1ose he jand provided a wonderful culminating poine for the picce. und hore while upsteam I made my next recording at another river junction. To na Tay his section of river I hopped across the large rocks that were scattered here until I was right in the center of the intersection. I wanted to capture dof the ewo rivers combining right where I was and then their eventual don into a larger stream, so I slowly panned the mic in a circle starting a Fthe eibutaries crossing over the next one, and then pointing down the By rs je. The result was a natural pan chat lets the listener know what is hap- the: jn the tive, without even having to see it. Satisfied with this, I drove into am: of Grafton and caught the river ina very differen setting. At this point the had dug a large deep bed through a large meadow, slowly working its the upcoming rapids. To add variety to the soundscape, I only the ambience ofthis location, which included a small amount of song- the gente flowing of the stream, and a small amount of wind battering the ow level of tound at this point provided a much-needed break from the ry ofthe previous recordings, and added another peaceful point the piece. this serenity, I decided co record a small pond about a mile further The first was of the civeras it cut its way through the thick woods of fountains. To record this part of the river, I found a small pool chat was filed by water pouring over a small shelf of rocks and then emptying down oad set of rocks as it continued downstream. This recording was another ce the ‘xample ofthe river, and showed a great variety of tones and ‘notes’ that fet created as it tumbles on its way. I mixed chis recording with one that I fey more miles upstream at a very similar point in the river. Because the ilicape for these two points was so analogous, [ wanted them to sound as 5 possible. So to record this area, I found a hollow log chat was peaking ifthe river, but was still partially filled on che inside and had a low amount {going through it. By sticking the mic into the hollow portion ofthis log, ed a soundscape that I can only describe as a sunken ship still being by a small current passing through it.I really enjoy the hollowness of ticular recording, and it created an interesting transition into the recard- ‘made just prior to it. The final recording chat I made before I reachedSeS==— 68 + Deep Listening the source ofthe river was another small pond, except that this one: ‘made drainage tube coming out of it, and a small stream that flowed, tion of gravel ccming out of that. To capture this sound, I simply ppond!’s edge and pointed the mic inthe direction ofthe small stream Of it. The recording gives the impression of a vast space that is only affeced by the small ream running ou of it Finally I had come to the source of the river—Dyken Pond. To ‘quiet nature ofthe pond, I found a small pile of rocks that were sticking the pond from the shore. I put the mic as closely as posible ro the rocks i to record the tiny lapping and sloshing that che water created as waves washed up and over their obstacle. Nove that I was satisfied with this, hheaded back to Tioy to get the final soundscape—the river flowing d and out into the Fludson. This was the only soundscape that I tried to ‘sounds of civilization that were all around the river. Instead of recording riverbank, [ instead stayed on the bridge that went over the river closet ‘mouth, Standing there I recorded the sound of people walking and. ‘well as che ambience ofthe river flowing underneath me.I chink that as recording, for my pice it was very successful because it showed a side of thes that I had neglected up until chis point—the effecr that man had on it “Aficr I had recorded all of cis I went back and starced to piece the Thad recorded together with the video that I had shot. Combined, I though they creaed an interesting interwoven signature chat wouldatt have bee if [had simply used the ambient audio that was always present in the taking a small part of the sound that was being created by the siver and eo ing thac with the overall soundscape it was creating, I feel that I was able ts the river much more personality and interest than many people would h inally hought it had. In other words, I had to listen to not only the whole river, but also is parts in order to make this picce work—and without th tice of Deep Listening I dont think that would have ever crossed my,Pauline Oliveros «69, to Signal: Deep Listening and the Windowed Finding ic dificult to put into words my experience of Deep Liseniag—my eooe Within the class and how my involvement with the practice has shape ous and unconscious woeld inthis pst year. Tobe at once direct and sim first begin by saying that Deep Listening as a phenomenon as pro. altered my relationship not only to my sound world but also to the world (0k, so I'l begin witha testimony—something that I was maybe avoiding tactic, but what apparently needs to be sounded here and now. Ie it (Go me at the very last...) how my approach to this paper writing ven- at i's beginning, permeated by this newfound approach (even as Ihave yet orate in any great deal about said approach); perhaps chis structural anal- selfseflexive moment ies the only way that CAN begin. ould I ask fora restart? I ehink noe. To begin with a beginning and to end ending is something that I cake for granteds my experience with DL has me cause to question this method inthe pragmatic, formalized essay scase. if now havea greater sense of continuum in regards to consciousness, and be Ihave begun saying this long ago—itis just now that the reader chooses through ths filtered form. This sense of continuum, for me, wil always eference to some mathematical/strucural nocion. The continuum: the line, Gre the plane, the sphere. This sense of the non-finite also has reference to this lack being itself relative co these constructions, To my mind, these ps are natural; our observations of them only discoveries of a beaut- rect symmetry. The creation of an imagined symmetry, one that exist in tthe pr swith those natural harmonies that are already in existence is something However, our relation to this cosmic symmetry, and by extension o one : is non-linear, non-osillarory and all around non-sensical system. Itis a Schizophrenia that is often feared rather than revered as itis forcibly to ence into an unnatural alliance with simply constructed harmony. Tis My fascination with this (phenomenon?) is long-standing, but my each to ic as well as my reception of it has changed greatly in conjunction mitimy Deep Listening practic. Tiss the underlying thread that will be exam- through reflections on sound and society and drawing from my DIL jour- lenrics as evidence ofa process. hen I first became involved with Deep Listening. it was August of 2002. 1 ‘bie about the practice through friends and personal research, but didn't70 + Deep Listening hhave a frm grasp on what to expect. Ac this time Iwas about to enter my year of graduate school, and had been reflecting on the previous years @ ‘During that year I had farther developed my personal sonic aesthetic] appreciation of all things considered to be “noise music*. In my own my attempted co be as harsh, fast moving, loud and as broxdband as posible that ths sre of style was somehow reflective of our current world cond that it was important for the furthering of what I saw as necessary social tion: it confronted people very directly with a ssi of = even deviancy. Ic was my belief that through a process ofaccepting this so unconventional” art, one eould gain further acceptance of the society inf they lived. For this reason I still feel chat noise—however we define it—is important as an art form and as a part of my music. Wi changed though, is my approach to it in the context of composition ap performance. Ino longer fel that the loudest, most abrasive sound is the most effective way to create this feeling of disassociation. I dont cen dy that itis necessarily “noise”, but rather it depends on how this sound is sta within the sound field and it's elaionship to those elements that are“ Deep Listening helped me to come to this realization in that it raised my, sciousness of my immediate environmental soundscape. This was a that [ could take any moment of any day and elevate it the level ofa moment”. Through this listening practice, I began to appreciate those dey ‘of my sonic world that I was most accustomed to and that seemed mos ide able. Howeves, chose thar were striking in che way that they seemed out ofj in che context of the resulting sound field were most inceresting to me their existence would cause some disruption or perturbation of some kind wit the whole ofthe sound field. Focusing on these disruptions became a fa ‘of mine—could find the line berween che disturbance and the pristine ment? Through this practice I came to a conclusion: these disparate these disrupting sources were noise generators regardless oftheir timbral g Te was the circumstances of the situation that defined their role. The noise they were gencrating was the perturbation of the original ficld. It was noise that it was a disruptive force in the communication that was ongoing with sound field—reconfiguring it around these newly introduced elements. that exists berween the original communication and the aewly disordered ot where my focus is, Thais, our relationship to out sound word isa mediate filtered one, and I choose to window my focus so that this line is in the fre Each point on ths line is part of a spectrum—a momen: in time thats the process thats the shift from order to disorder, from nature ro noise a of composition, my newfound approach has been ro examine this line. The 6} is sill co facilitate « “noise experience” that is unique in its lack ofPauline Olivers = © 7 aication, but now the method is to subtly articulate this lack. I believe allows the listener to enter into the moment, expetiencing something Gable and therefore being able co appreciate che unidentifiable asi relates “This sot of listening demands patience, which I feel is necessary to truly away fiom the experience somehow changed. Te cook me time and much patience, integrated with Deep Listening practice, to have this realization. ‘that { need to present composed sound works in such a way that begs 1 ro engage with them patiently. Once inside the moment, the aticula- ‘the “noise” elements can be played out, and this sense of disassociation p after can be internalized. ‘aid, this new shift in perspective that I have had is a process that has i dsing my involvemene with Deep Listening, During some atl lsten- jtations, I would find myself associating sonic elements with other images music". On 9/6 Thad ths to say: *...I was inundated with concerns and 3, which cther turned from images to sounds or sounds ro images. This language and syrabols made me (I believe) perceive more of the ideal of the real. I thought of concerns for the health of people in my life...this o.an awareness of my inattentiveness to my surroundings and a sound like [and glass (broken) tumbling down a hill owerds me...” A reference to a Iuisical experience can be seen on 9/20: *...it began that way for of warer flowing, but in a constant yst abrupt change of speeds ig me of Debussys Soiree Dans Grenads)..”. Ido not mean to imply cxperience should not trigger a past experience. On the contrary, I and this imagined pice by Debussy (one my favorites...) It seemed, gh, in chose earlier days that there would alway: be an image/symbol/sound ion. If we look to later journal entries, chis is not necessarily the case. On ‘example: “Very quiet and equidynamic today. Made for an interesting siren in che distance—before it got close with it's blaring hom— like voices. The two pitches of the siten sounded like cwo people ng to one another with drawn out (long) tones. I thought this was amaz- , considering the ‘mirror’ concept that Pauline introduced today...”. there was reference to a symbol (people's voices), but I differentiate this tofentry because it was not associated with a mental image. Instead ic was the quality of a human voice that I thought of and che experience om this ‘was generated internally. That is, all of the dialogue that this sonic nt created was due to the SOUND ITSELF rather than bringing in some point of reference. famazcs me sometimes when I reflect upon my relationship to my sound Old now at this moment in May of 2003. 1 have somchow kept the same sorts72 + Deep Listening of interests and concerns in terms of art and its social function. H approach to it and my reception of it isso vastly different that it cannot hl change the art-making process forthe better, thereby improving its abil itself into the larger social fabric in a nondestructive way. Further, | people on a more immediate level. To bein touch with our neighbor we in touch with ourselves and our surroundings. One key factor is our so facilitate this connection in that i allows for introspection, and also people closer to the fabric that binds them through a common ex “THANK YOU Pauline for giving me cis opportuni!Listening Retreat ¢ Oliveros, composer old, T’ai Chi and creative movement specialist cening® (DL) is a practice created by Pauline Oliveros to enhance her ‘work and to engage with others. This practice evolved out of Oliveros fascination with sounds, and from her work in composition, improvi delecto-acoustics. It is her commitment to the community at large that ways to unite creative practice and dail life. The whole gamat of sound, processing of what one hears, is revealed through exercises that re-con- cs with ther innate creative potential and the wider environment cal, and natural way. Simply put—sound is energy. ss cxrcscs work both body and mind energies wo trip up one's creative processes as directing onc attention tothe intereonnectedness of living systems. prishop is aptly refered to asa “retreat”, Although not free of tourist rai, teness of Muerzen in the Swiss Alps provided a suitable retrat environ- ‘There was an on—going emphasis on moditation and body-awarenesstech- that include Eastern and indigenous sourccs. Fifty years ago German-born ‘Buddhist, Lama Govinda, wrote “Arcand meditation are creative states of mind”. Deep Listening definitely adheres to such openness of the potential and sets the context for applying various meditation and move- ¢methods to creative and everyday lift. In accordance with the atmosphere of ates, the process was made available without specific cultural or religious bias. the expected coterie of musicians, performers and sound artists, this op attracted music therapists, organizers administrators, teachers, office i etc. Whoever is willing 10 challenge her/his systems of perceptionte 74 © Deep Listening through unlocking creative doorways is most welcome. Age is nota these workshops could accommodate teens to grannies (and apparendy hay Ollie what'-his-name? Pethaps itis just to include a liale introduction to Oliveros at this “litle” does injustice for her contribution has been significant). But, seems leagues. Fellow composer, Larry Austin, offers his tribute: Pruline’s work and advanced musical concepts were well known appreciated in the San Francisco Bay Area in the late ‘Afies increasingly in the ‘sixties. Her prose piece/poem “Some So Observations” was first published in Source in January 1968. She then and remains a great influence on my own work. (John) Cage appreciated her importance as well and collaborated with het in many, ‘many projects and performances. She continues to make imporsnt ‘contributions to che welfare of the new music and avant garde comm: pity of artists and human beings. Listening beyond the “Om” ‘Tisining with Oliveros, Ione and Gold was by the far the most unpretentious, and applicable workshops I have experienced to date, their “special tezching method’ is one of kindness and pure love of sound variant forms. One personal yardtil ro measure benef is the humar Faia thie workshop was fll of so much laughter chat it still amazes mo—gven tH at Ieast half of our time was spent in silence (from late evening to the fll day at lunchtime)! tice, I found this opportunity to train and perform in such an environ ‘utmost value. Of particular interes co me is the investigation and px ‘Tibecan Buddhist “technologies of consciousness’. The endeavor to be mini net ony oto ny eoPauline Oliveros = 75 liners to grasp the interdscipinary paradigms Iam evolving, and for (pueas: the Deep Listening work process. [Oliveros speaks of her own experience, she refers to the delightful term— For me this term has an undertone to an aspect of Tibetan Buddhist that focuses, The point all rainers make is never to lime the practice 19 eathet, make something one's own and expand it outwards In her own ‘own core practice—seed practice—began about 45 years ago, and bbly longer than that buc che consciousness of ic began chou 45 ago of listening—to everything all the time. Reminding myself nT was not listening, and I keep practicing ths all the time. And [ catching myself and bringing myself wo consciousness. Heating is something that happens to us because we have ears—ie is our prmary ‘sense orgun. Listening is something we develop and cultivate our whole and maybe all of our lifetimes. Listening is what creates culture. istcning is very diverse and takes many different forms as cultures take cai ing-dinging, Silence. DL training, Siving meditation, Voiced meditation, Drawing, Writing. fration. Improvisation. ‘The tip ta have without lesving the room. Lunch, Tai Chi, Qi Qong, dance, move it. Dinner. DL training Ione takes never-never. Shut eye. Silence. Listen. # parmersin-training, Jone and Heliose Gold, provided a vita role in g the mind-body exercises. Gold has adapted Chinese movement (Tai % Qong) and her own 25 years of dance experience to focus internal es. Gold took us through a gentle and meticulous movement seties, had us bent over double—in laughter! As the workshop progressed, we ‘mote attuned to sensing the connection berween our very bedies, con- es and creative expression. We could gradualy extend sensitivity of these (internal) energies by practicing with improvisation groups. These body and active listening also connect consciously with the wider environment.ye 76 + Deep Li Tone was the “dream keeper” who imparted drcam knowledge, enabli ‘exercise awareness even in. our sleeping hours. This knowledge was combination of her own spiritual and psychotherapy practice, and included. inspiring stories/experiences from Norch American indigenous people ‘cultures in mine with dream worlds. Our work became @ conscious ef develop mind and body awareness 24 hours a day. It was surprising to the science and technology implemented in our waking houts appear dreams and if we tain our dream technologies, chen our creative ply i ug ited. Recall how many scientists, inventors, mathematician, etc. were something originating in something as “insubstantial” asthe dream night. one asked us to remind ourselves during waking houirs “hiss is profound when one thinks how erazy our waking hours can be (as tho ing one’s eyes open was something more “real” than a dream—but that debate...) Sill I found ic disturbing to dream about Hotmail—the ‘daytime is sometimes 2 nightmare in itself Cut the Costnic—Gimme der Compurer Pethaps a Deep Listening Workshop-Retreat is not quite what one may from an innovator of “new music’. IF we change this notion to “new ls then it may not be the anomaly it...err..sounds, Composers who work with computers and other electronic means create extraordinary varicties of “new listening“. This isthe point. A tremendous ‘edge bank is guined by entering more deeply into a profound study of pti coustcs and studio-ceated listenable (and noneaudible yet pereptbh phenomena. In 1961 John Cage wrote: “New Musio—New Listening". It something passé for its active practice is ever more urgent today. I recill a s ‘ment made out of sheer frustration atthe Australian Computer Music 1998 in Canberra: “IF1 hear another obvious computer sound—blip blip sq squigget'l scream. I might as well geca microphone and record Nature” To listen with avarenes isnot about entertaining silence, parking the bot Be ‘unproductive. Like other meditation forms—itis work. Ie informs us. The lowing was a not-often-told anecdote of one the moscofien-told Cage: a cxat Oliveros explained at the retreat:Pauline Olivers © 77 zn John Cage went into this room lan anechoic chamber] he heard a Found, and alow sound. And the story went thatthe high sound was dof his nervous system and the low sound was the sound of his fod going through the veins. Well—that’ che story. However there is Be that story thats noc generally known, Jobn Cage ded of a massive Bie jos befor his 80% birthdzy. A physician has sid thar you woulda blood pressure the way John described it. There was plaque in the ‘building up and cha if someone had taken heed of what he had they would have known it was building towards a stroke. That was hing. The other—the nervous system does not make a wang that you Tike that either —itwas alo par ofthe condition chat led to John ‘one of the many stories about listening and its power to tune into the ‘elements of our inner and outer envionment. Aural attentiveness can discoveries. There is an ever-exciting interest in the nexus between, ss, culture and technology. iferently,” chs nexus has been che interest of many artists fora long time reminds us in her book, “Software for People": the end of the 50's, I was working with electronic means, and the field time and sound became my material as John Cage has pre- for composers in his Credo of 1937. A most important discov- and major influence on my work occurred about 1958. This covery came with the aid of technology.® danized a determination to expand listening, And this is what the DL ms ll about. An integration of mind and bodywork ro ge in touch with jronmenc and our fellow humans, and to keep expanding lisening, beyond. usness” and, as did Cage, have a keen interest in working with Western ba Weare in the process of finding a common language between the Eastern of consciousness and Western science and technology. And most sample of science confirming what Eastern mystics have known for cen to be the benefits of meditation/relaxation, we wete refered to the ECG78 © Deep Listening ‘Value for Ears and Heart One could never claim isolation. The absence of hierarchy permitted to be something the trainers have done for years and destined t0 oo {nto the nxt millennium! The Swiss women voiced how rare ic isto bee as comporers (rather than “just” performers or teachers). But that can na’ att (her own operatic quality, with the very different vocal qualities of performen Vivienne Corringham and myself) she composed a piece evolved from, card. Being partial ro spontaneous unpreparedness, I challenged the com ‘Swiss lasical violinist; Christine Ragaz, who sighed how she always want something “experimental and improvised”. I said, “Got yout violin?” D protest of “What! No rehearsal?” to be expected from the classically to entertain public performance, she did take up my challenge. We shore but sweet spontaneity thac made the heart sing. “The worlchop encouraged participants to ake things learn from the the community. Skill can be transformed and applied to our everyday (One male participant was enthused at his idea co begin a choir in (Germany| consisting of people who “cannot sing’. Graticude was deeply smother male participant forthe “woman eneigy”. Although seemingly shy} DL is aboxt listening and interaction, And practice. Being mindful. 24 h day, Icis about bringing it to the community as one’s particular perforrancel ing/creatv: offering. Artistic endeavor here promotes interconnectedness 10 oi living systems-—nor being precious, but sharing our precious qualities. Deep Listening was the uncanny falfillmene of the closing sentence of my Masters sub-thesis: «diffrence is not the point, rather, listening differendly in order to hear 2 more expansive sound art.“7 Pauline Olivers © 79) ‘extends her heartfelt chanks to Warren Burt and Martin Wesley-Smith encourage the humanity inherent in our work, and encouraged her Oliveros. sawrendance at the Deep Listening Retreat was partly assisted by “Australian Network for Art and Technology's Conference 8 Fund, a devolved grant program of the Australia Council (the Federal Government's Arts Funding and Advisory Body).80 + Deep Listening Deep Listening Koans and the Wizard of Oz Mails Yuri Kusama ‘There isa famous Zen koan, a koa about the sound of one hand clapping. Ha, you heard it? I'm almost sure that you have! The sound of one hand clapp only be heard within the realm of practicing deep listening, cis the ditect. cence of sound, eterna. [tis the experience of no sound being filled—and, ious decibels being empry. It is the two in one, and the one in none. (Over the past ew months T have used my meditation on deep listening journal writing in Dr. Pauline Oliveros clas as a way in which to meditate interconnectedness of ll sound, chs in essence digesting the sound of oneh On the other hand I have been able ro explore the thread of sound, it arial cessation, Ihave meditated on che healing aspects of sound, and univers sions of sound. find a group of college seudents mediating om a stained grey carpet in the od Ml ‘music building, ed by a white haired wise woman staring down at you from. ‘what webe all imagined, larger han life." Soon I could come to rely on our class asa sanctuary in the regular fst things. Our chi-gung, visualizations and vocalizations are healing could see all che miniature shifts in the senses. “Tt became obvious to met sndercurrent of tound-or the sound of silence-can be reinterpreted asthe cont hich all sound arses and falls back into. Healing happens when sis co becomes your body, and all sounds become your home.” | became very interest hhow sounds can be the gateway into a heightened awareness of the moment. O and over again listening, following, becoming, and dropping. Using ove bs our vesel to experience the depths of the senses. fifeaic, For the first month of clas all you could hear during the meditation sound of the lawnmowers and weedwackers. While sitting quietly you sense the tension these machines brought, As the weeks went by it seems tively chat the group had kind of le the idea of sound nuisance go. Our: ‘ance for sound as is became obvious in the body language of the group dla Pasline Oliveros #81 . ironically around this time the mowers stopped, and for the first sealized what an inspiration loud decibels can be if used as tools to enter ment time and time again, Toshi sid, “Ys.” cher question was, “Ist true that ‘Course wordsand fine speech all end. up ae truth?” os said “Yes.” he monk said, "Can I call you an ass?” os hit him. 6° this koan seems to deal with lively entrapment and humorous discourse, i was also pointing to the fact that all sound is torally interconnected, us, and impermanent. One day during our meditation I wrote a spon- poem about sound. It was after Pauline had mentioned to me in an email dof the ocean current that researchers are currently documenting. It goes Inwavelengtht-o- 2 200 eee eee eee teeter eer eens ‘We had been meditating asa group for over @ month. The projection ‘of Pauline (herself) on the wall and the video camera were old fiiends. Twas easy to sip into the sounds the moment had to offe, Oa this day, “the seratchy sound ofthe reverb on Pauline’ video chat was the constant rhythmic overtone, like freeway white nose. sat on the floor cross leggedeo 82 + Deep Listening it really happening 2417." ‘This class has caughe us vo be more natural. This class has taught us ‘mundane, and the expected. .well, it’ a figment of our imagination. In *Yy ‘Sound and Form,” case 82 in the Book of Serenity, the introduction says: “"Not cutting off sound and form is falling wherever you are; searching of sound and looking by way of form, you dont see the Buddha, Isnt ‘one who can take to the road and return home?” ‘Then the case proceeds like this: “Yunmen said to the assembly, ‘Hearing sound, awaken to the way: form, understand the mind. The Bodhisattva Avalokiteshvara brings buy a sesame cake: when he lowers his hand, i turns out to bea jelly do Ik is the surprise of the jelly doughnut, and the eternal jungle ‘multidimensional one hand that is forever certain in all its perfect end) uncerainy. It is the magic of our life, : together in regular daily life, to meditate on the root of sound, grow the ground, embrace the mower, and embody the fact we really need to lol further than right under our very noses. Our dimensions are dancing”,WESLIOGRAPHY aboot the Pauline Oliveros Foundation progams and projecu at Deep g Space in Kingston NY. POF is a non-profitarts organization. sw. decplistening.arg/lo Biches ih the instactor in th Dep Listing Retmats cach eumme She84 + Deep Listening nopldasencextensionyog.coml See Principle #7: The Importance of Yoga Breathing Ingles shalem.org/valk hm Information on reverse engincering the auditory pathway in the brain Links for auditory training and educationBIBLIOGRAPHY “Ted, Sacred Sounds: Transformation through Music + Word, St. Paul: ewellyn Publications (1994) Iles, John, Music and Sound in the Healing Ars, Batrytown: Station Hill 987) Joachim-Ernst, The World s Sound-Niada Brahma, Rochester VI: Destiny js (1983) rade, Joachim-Emast, The Third Ear, New York, Henry Hole (1985) p, Herbert, MD & Procios, William, The Breakout Principle: How to activate nanurl trigger thas maximizes creativity arblesc performance, productivity {personal well-being. Scribner (2003) , Herbert, MD, The Relaxation Response, Harper 8& Collins (1975) William, Beesboven Anvil: Music in Mind and Culture, Basic Books Helen L./Savary, Louis M., Music & Your Mind: Listening with « New nsciousnes, Barrytown: Station Hill (1990) Eathnach, Sarah Ban, Simple Abundance, A Daybook of Comfort and Joy Warnes Books (1995) (Carol A., Healing Imagery and Muse: Pathways tothe Inner Self, Portland: Press (1995) john, Silence, Middletown, Wesleyan University Press (1965) io, William H & Bickerton, Derek, Lingua ex Machina: Reconciling Darwin Chomsky with the Human Brain, MIT Press (2001) ‘Don, Music and Miracles, compilation, Wheaton: Quest Books (1992) Don, Music Physician for the Times to Come, compilation, Wheaton: Quest Books (1991) , Don, The Roar of Silence, Wheaton: Quest Books (1989) 85860+ «Deep Listening ‘Cardew, Carnelius, Seratch Muse, Cambridge: MIT Press (1975) Cook Perry R., Ed. Music, Cognition, and Computerized Sound: An I 0 Prychoacoustics, MIT Press (1999) 7 Dadson, Philip & MeGlashan, Don, The From Soatch Rhythm Workbook, “Edition, Heineman (1995) Deval, Bll, Sessions, George, Deep Ecology: Living As If Nature Matired, Smith Books, (1985) Inner Traditions International, (1987) Fontana, David & Slack, Ingrid, Teaching Meditation to Children: A Prac to the use and benefits of meditation techniques, Element Books (1997) Goldman, Jonathan, Healing Sounds: The Power of Harmonics, Ro Element (1992) Gardner, Kay, Sounding the Inner Landscape: Music as Medicine, Ston ‘Caduceus (1990) Garfield, Leah Maggie, Sound Medicine: Healing wish Music, Voice Betkeley: Celestial Arts (1987) Greenfield, Susan A., Journey to the Centers of the Mind: Toward a So Consciousness, Freeman Press (1995) Hanh, Thich Nhat, The Long Road Turns Te Joy, Unified Buddhist Charch ( Hanh, Thich Nhat, Foreword by H.H. the Dalai Lama, Peace I Evay Sp Pash of Mindfulnes: in Everyday Life, Ridet (1995) “Halpern, Steven, Sound Health: The Music and Sounds That Make Us Wel Francisco: Harper and Row (1985) “Hamel, Peter Michael, Through Music to the Self Boulder: Sbambala (1978) An Introduction to the Pereption of Auditory Events, Handel, MIT Press (1989) Hardison, O.B., Disappearing Through the Skylight: Culture and Te ‘iventith Cennury, Penguin Books (1989) lone, Listening in Dreams: A Compendium of Dreams, Meditations and Ri ‘Deep Dreamer, Deep Listening Publications (2003) Jenny, Hans, Gymates: The Structure and Dynamics of Waves. ‘& IL Basel Switzerland: Baslius Press (1967)Pauline Olveres + 87 Soft Hazrat Inayat, Music, Samuel Weiser (1962) xd, George, The Silent Pube, New York: Bantam New Age Books (1981) j Dennis, Free Your Breath, Free Your Lift: How Conscious Breathing Cas Relieve ess Increase Vitality and Help You to Live More Fully, Shambala (2004) Keistin, Freing ehe Natwral Vice, New York: Drama Books (1576) WA, The Linening Book: Discovering Your Own Misi, Sharbala (1991) PhD., Randall, The Healing Forces of Musie: History Theory and Prutce, Element (1991) mney, Charles etal. Expanding Paradigm, Austin, TX (1989) met, Jim, Pale of the Planets Exsraordinary Sounds From the Naburel World Pauline, Deep Listening: A Composer Sound Practice, Deep Listening ir (2003) os, Pauline, Desp Listening Piees, Deep Listening Publications 1990 Paulin, Sofware for People: Esay from 1963-1960, Smith Publications 1984 ers, Pauline, Sonic Meditations, Smith Publications 1973 or Source Magazine eros, Pauline, The Root ofthe Moment, Drogue Press (1999) isin, Robert, Miuhimind: A New Way of Looking at Human Behavior, “Doubledey, (1986) in, Robert, The Nature of Human Consciousness: A Book of Readings Freeman 973) rin, Robert, Evolution of Consciousnes: The Origin of the Way We Think, Touchtone (1991) kin, Robert, Erhlich, Paul, New World New Mind: A Brilliantly Original Guide 1» Changing she Way, Simon Schuster (1989) gmt, John and Aston, Peter, Sound and Silence: Clasroom Prejects im Creative ‘Masic, London: Cambridge University Press (1970) Et, Candace, Molecules of Emotion: The Science Behind Mind: Body Medicine, Touchstone (1997)88 + Deep Listening Pink), Benjamin, Consciousnes, Matter and Energy: The Emergence ‘Nature, Tarover Press (1992) Rudhyar, Dane, The Magic of Tone and the Art of Music, Boulder: Stam Schafer, R. Murray, Our Sonic Environment and the Soundcape the Tani World, Destiny Books, Rochester, Vermont, (1994) Schwenk, Theodore, Semitive Cheor: The Creation of Flowing Forms ‘Air, New York: Schocken Books (1976) Scott, Cysill, Music: Its Seeret Influence Through the Ages, London: The Publishing House (1937) ‘Smith, Leo, Notes (8 pieces) Source a new world music: Creative mas, 1973) 7 Stevens, S.S. and Warhofaky, B, Sound and Hearing, New York: Time Lif (1965) Stewart, RJ., The Spiritual Dimension of Muse: Altering Comsious fo Development, Rochestet VT Destiny Books (1987) Serogare, Steven, SYNC: The Emerging Science of Spontancous Order, Th ‘Tame, David, The Secret Power of Music, New York: Destiny (1984) ‘Thicl, Philip, People, Paths, and Purposes: Notations for a Participatory Em ‘University of Washington Pres (1997) ‘Thompson, Emily, The Soundscape of Modernty:Architctural Acct Guleure of Listening in America 1900-1933, MIT Press (2002) “Tatku, Tarthang, Kiom Nye Relaxation. Nyingama Psycholoy Series, (197) ‘Zuckernandl, Victor, Sound and Symbol: Music and she Exsernal Ward, Pi Princeton University Press (1969)GLossaRY of the words used in Deep Listening practice are borrowed ftom other dis Some of these words such as Chakra and Chi have passed into popular sEnglish and are to be found in dictionaries. 'ai Chi, Chi Kung and Yoga Boergy or life force in Chinese medicine and philosophy. Chi is the energy verse that flows through and around all living things. See Science and tation in China by Joseph Needham. series of exercises designed to build Chi in the body. See Qi Qong, sposition—a particular posture of the body used in meditation where one is on the floor with legs crossed, feet on thighs, and back straight, a word or phrase that is repeated during meditation to assist in one's pment of spiritual power, Qi means energy and Qong is development. See Chi Kung. term coined by R, Murray Schaefer enalogous to landscape—or is sounding in the surrounding environment of ze listener. hi—Chinese physical exercises featuring forms of slow and flowing ci pvements of the limbs and torso, There are many styles of T’ai Chi for ple Yang or Wa style. The style practiced by Heloise Gold in the Deep ting Retreats is Yang, spiritual practice consisting of rituals, postu, and breathing exercises ed to bring about feeling of unity with a divire being. 89REFERENCES (CD “Deep Listening” (NA 022), subsequenty released on New Albion nspring 1989, not only garnered several spectacular reviews, but was ‘named among the ten best jazz recordings ofthe year by Pulse! magazine, cap isa term coined by Caan compoerR. Mary Scr in is book The Tuning ofthe World, A pioneering exploration into the past his- and present state of the most neglected aspect of our environment: The Knopf, 1977. Erickson (1917-1997) was born in Marquette, Michigan, where as a th he played violin, piano and flute. Drawn to composition in his teenage eas, he found his principal teacher in Emnst Krenek, whom he met in cago in 1938. He followed Krenek to Hamline University in St. Paul rand studied with hima until 1947 (with three years of Army service erwees). Erickson’s other teachers included May Song, Wesley La Viole, and Roger Sessions. He began his own teaching carer a the College ‘St Catherine in St. Paul, Minnesota, then held a series of positions ax San fancisco Stare College, University of California at Berkeley, San Francisco tory and University of California at San Diego, whose music depar- cat he co-founded with Wilbur Ogden in 1967. Among Erickson’s honors Fellowships ftom the Ford and Guggenheim Foundations, and clection as Fellow of the Instiuce for Creative Ars of the University of California 968). He wrote a number of books and articles on diverse topies such a5, ‘tuning systems and the elationship between phonetics and music; his est recent work was Sound Structure in Music (1975). b improvise means to create music spontaneously while vocalizing or per- gon a musical instrument. Often while composing I would improvise venions ofa phrase, phrases ora section at the piano. for Sexes is an example of Oliveros’ caly “traditional” works. It eats the influence of her mentor and teacher, Robert Erickson, a prominent bthor of acoustic theory and advocate of intuitive compositional methods. ou2 rt} u + Deep Listening (Oliveros stated that although her earliest works were composed us tonal musica notation and end to sound like the works of, technique. Written for fute/piccolo, Bb clarinet, Bb trumpet, F ho and piano, Variations explores her interest in timbre or sound color her use of timbral gestures, rapid shifts in tone color, and radical Tof IV for tape was performed in realtime in the Electronic Masi: the University of Toronto in the summer of 1966, I of 1 was released con Odyssey Records and reissued on Paradigm in1997. For technies ‘mation see Tepe Delay Techniques for Electronic Music Composers in Sof People Pauline Oliveros, Smith Publications! Printed Editions 1984, Bye Bye Butterfly is a wo channel tape composition made at Francisco Tape Music Center. Ic utilizes wo Hewlett Packard osi Jine amplifies in cascade, a turntable with record and two tape record delay setup. The composer arranged the equipment, cuned the and played through the composition in real time “Bye Bye Busterly bids farewell not only to the music ofthe 19th c also to the system of polite morality of that age and its attendant alized oppression of the female sex. The title refers to the opera ‘Madame Butterfly by Giacomo Puccini, which was at hand in the the time and which was spontaneously incorporated into the ongoing positional mix.” Bye Bye Butterfly is included in Ohm the Early Gari 2 Electronic Music, Elipsis Arts, 2000 and was frst released in 197 o ‘Music for Electronic and Recorded Media, 1750 Arch Records, ris quently by CRI 1997 and on Paradigm 1997. John Rockwell, Archives of the New York Times, Ten Best Picces of Masic of the Decade December, 1969 The Nature of Music was a course for the general seudent at the Un California intended to introduce music through creative participa Students composed performed and improvised music. A New Music Education for Everyman in Experiment & Innova Directions in Education. The University of California, Volume 1, Numba January 1968 by Wilbur OgdenPauline Olivers +93 je Meditations, Smith Publications (1971) is a collection of verbally rated meditations that may be enjoyed by anyone ina variety of ways: read jpocery, performed alone or performed for an audience Attention, Chapter 15 Zen and the Brain, James F. Austin M.D., MIT 1999 Music ofthe Avant Garde (1967-1972) (Out of print. A few single isues re sil available from the Deep Listening Catalog, er deeplistening org/dle) man, Available in vatious quantities per extant issue. Princed on high lity paper, with 4-color reproductions, 11” by 14”, spiral bound; LP dings included in 4 issues. re for People. Exays fom 1962-1980, Pauline Olivers, Smith Publications! red Falitons—includes articles on new music, women as composers ‘meditation, attention and awareness, and technique. (1984) ject for Music Experiment directed by Roger Reynolds (1973-1975) was ‘organized research unit established by the faculty of the Music for Music Experiment and Related Research, directed by Pauline from 1976 0 1979. ation Project was my resarch inthe Project for Music Experiment. See tation Prajec, Sofa for People ibid. y meditaion studies included Kineric Awareness with Elaine Summers in New York NY; T’si Chi Chuan with Al Chung Liang Huang in Rancho fa Fe CA and Heloise Gold at Rose Mountain Recreat Center, Lax Vegas M; Shotokan Karate with Lester Ingher ac the Insite for the Stdy of Aention in Solano Beach CA; Za Zen practice with John Daido Loot at ‘Mouneain Center, Me. Tremper NY; Tibetan Buddhist Shine practice HE. Tai Situ Rinpoche at Karma ‘iyana Dharima Chakra in oodazocke NY; Yoga medication fom Dr. Rammurti S. Mishra at Ananda hram in Monroe NY; and Chi Kung from Taoist Master .K. Hh in gston NY. Mountain Retreat Center, Las Vegas NM, Andy Gold proprietor ‘Pai Chi, san ancient Chinese discipline oftlow, gracfl meditative move- pens practiced ata system of exerises, There are many different sues of94 + Deep Listen-ng ‘T’ai Chi forms. Examples are Yang and Wa styles named for the i Se practiced or developed the form. T’ai Chi is also a form of martial a Eventi 2 Chi Kango Qi ong: A aes of erie designed wo bull Ci Boars) body. Chi or Qiis energy o” life force in Chinese medicine and pi ‘Sec Ins Chi is the energy of the universe that flows through and around: things. See Science and Civilisation in China by Joseph Needham, ‘Qong means development. 22 Listening Through Dreaming: A Handbook for Deep Dreamers by lane, [ Listening Publications 2004 23. Deep Listening in Switzerland was organized by Margrit Schenker a at Hotel Regina in the high Alps in Muerren in 1998, 1999, and Kalturhorel Seeguetli in 2001. Subsequently Christine Zehnder ce Thy organized two more retreats at the Kulturhotel Segueti a 2004 and 20 Ch 24 Deep Listening Haliburton was organized by Gayle Young and held of Audi Haliburcon Wildlife Preserve at Stocking Lake, Ontario in the sum Sepher a Boents, 25, Deep Listening at Cloud Mountain was organized by Robert Mana aM at Cloud Mountain Retreat Center in Washington State in 1994, iy 26 ‘The Three Year Certificate program is offered through Deep Listni Bodymi ‘Retreats to prepare the participant to teach Deep Liseening Workshops Sichind Aspilowwenidesplistening.org forthe requirements of this program “Theraps 27 ‘The first Three Year Certificates were awarded to Tom Bickley, Anne Bo the liv Abbie Conant, Norman Lowrey: Dominique Mzzeaud and Kimbedy ec hax A Publi ‘Sepeem Banjamia Libet in Esental Sources in the Scenic Say of Coma cay Edited by Bernard J, Baats, William P. Banks and James B. Newman, Medes Press 2003 PhD. ¥ 29. Deep Listening at Rensselaer Polytechnic Instieute is taught in the fall Ficees spring semesters as an upper division course for undergraduates and. Prcrvien ‘There are no prerequisites forthe course. aa 30 Deep Listening at Mills Collegeis taught in the fll as an upper division oo isexper for undergraduates and graduates without prerequisites I reach the Stic a through virtual presence using iCHATav for MacIntosh computer after ani through physical visit. I appear in che Mills College classroom on a lage screen and. spas ‘see and hear the students and give instruction from my home in ‘bape New York.Pauline Olivers © 95; ex Sirategies and Models of Selective Astention by Anne M. Triesman, in ial Sources in the Scientific Study of Conscinunes, Edited by Bernard J. William P, Banks and James B. Newnan, MIT Press 2003 Iniroduction: Treating. Consciousnes as a Veriable: The Fading Taboo in. jal Sources in the Scientific Study of Conscousnes, Edited by Bernard J. William P. Banks and James B. Newman, MIT Press 2003, Brain Ssimulation in the Study of Neuronal Functions for Conscious Sensory Experiences: Subjective Referal of Semory Experience Backward in Time by exjamin Libet in Exential Sources in the Sciemific Scady of Consciousness, by Bernatd J. Baars, Wiliam P. Banks and James B. Newman, MIT Press 2003 The Audible Past, Jonathan Sterne, Duke Uriverscy Pres, 2003, pg 96 Chapter 1,.A Point of View in Listening: An Entraducron ro the Perception FAuditory Evens, Stephen Handel, MIT Press, 1993 is used by Candace Pere in her Molecules of Emotion: The Science ind Mind-Body Medicine and James 1. Oschman in Energy Medicine in Therapeutics and Human Performance, Bodymind expresses the continuum of the living matrix, that there is no separation between mind and body. : hp. Hern. plumvillag.org/tnb/embracing anger hem Embracing Anger, Public Talk by Thich Nhat Hanh ac the Riverside Church, New York — bet 25th, 2001. lows in the body include electricity, heat and magnetism. See Energy : The Scientific Bass of Bioenergeic Thenpies by James L. Oschmann . With an introduction by Candace Pert, Churchill Livingstone 2002. ess training emphasizes action rather than goals or product. There is an ‘of Deep Listening that can only be uncerstood by experiencing the 3. Process is initiated by action and is observed by the doce. The result fexperience and understanding through experience. here are numerous points that are found along the acupuncture meridians pughour the body and associated with different organs of the body. See rswacumedico ineyhem Bubbling brook or kidney point96 + Deep Listening ‘Number 108 by Ray Van Raamsdonk 44, Sympathetic nervous system—See 45, Parasympathetic nervous system —See . bhup/faculty-washington.edu/chudler/auto.beml i 46 hup:!/wwwextensionyoga.com/ See Principle # 7; The Importance Breathing 47. See Free Your Breash, Free Your Lift: How Conscious Breathing Can Rei Increase Vitality and Help You to Live More Fully, Dennis Lewis, Sh 49 Mantra isa Word, phrase or sound that is repeated during meditation. ‘means “instrument of thought: according to the Colegne Digital 50. See Jonathan Sterne, The Audible Past, Duke University Press, 2003, 51 From a conversation with Ramon Sender Barayon. 52 The balancing of Yin and Yang is related to masculine and feminine eel thus the lee hand i Vin and the right hand Yang This isthe reason for fying which hand to use. 453 In the Chinese system of Chi Kung and T’ai Chi the dan em is th ‘energy center just beneath the navel. 54 See htp//wnwwschelibrary.org/micromed/00063360,huml Reflexology 55. Sec hitp/Jhoime,pachellne/brodsky/nails hem The Mechanics of the Th Nails: Develop your root— 56. See hupildhisoryacusd edu/gen/recording/notes huml Recording Ted History notes revised Feb. 16, 2004, by Steve Schoenhert 57° For very basic information see Record a Sound on a Windows Computer,Praline Oliveros +97 are many freeware and shareware recording editing programs. For the gaas in this book I recommend the open source frecware program Audacity works on both DOS and MACos platforms. encrer: colloquial Australian for sparsely inhabited desert country «remote olated region, especially that of inland Australas an imaginary land colloquial Australian for “story telling”. 0s, Pauline, Software for People, p 182. re -was the ghost of Cathy Berberian. Late Tone invited me to act in ‘where I play Carla Gregarian, a vocalist ghost. An outline ofthis can be pd on the Deep Listening website as one of their Projects. This thir video opera was initially tced Hotel Regina where ths retreat took in Muerren. Listening class journal, Maika Yuti Kusama, 9-20-04 listening Journal, Maika Yuri Kusama, 10-11-04 Listening Jounal, 9-27-04 of Serenity, translation by Thomas Cleary, 1990, The Lindasfarne Hudson, NY.epee, 10, 25-26, 30, 44 ‘Deep Listening Retreat, i, xvi, 30, 73, 79 Deep Listening Woskshop, sii, 58 Dominique Mazeaud, 94 Doug van Nort, 69 De. Rammuri S. Mishra, 93 Dragon Tail, 8 dream, si, sui, 2, 4, 18, 22,73, 76,83, 86 eS ib, 5, 1O1S, 18,25, 27-29, 35, eat, xi, si, ai, 6, 18-19, 33-34, 56, 85 46, 55, 58, 02-63, 73, 78, 93,95 editing ix, 27, 96-97 123,15 laine Summers, 93, electronic musi, 0, 92 EElipsis Arcs, 92 si, 1, 3, 9-13, 20, 25, 32, 4, 55, energy vii, xi, 3, 5-10, 14,25, 41, 50-51, 57, 73, 78, 88-89, 94.96 Energy Sphere, 9 cavironmental sounds, 70 Ernst Krenek, 97 ‘extreme slow wall, 2:3, 20, 23, 15,1, 14 Reeling, 5, 7, 14, 21-22, 39, 47, 59-60, 30, svi, 27, 29, 73-74, 63, 63.64, 70,89 91-92 Field Reconding, 27-28, 57 i, 4, 10,27, 31, 70, 73, 78 Flower Breathing, 8 French horn, x0 Giacomo Pucci, 92 Good In/Bad Our, &== 100 + Deep Listening HE. Tl Sita Rinpoche, 93 music, heh, mel, 3, 15,20, heating, xi, zi, xei-il, 33-44, 39, 49, 38, SI, 59460, 64, 70-71, 73.74 55-56, 63, 75, 82, 88 78, 82, 85-88, 91-93 Heloise Gold, i, it, 73, 89, 93 Hermiols, 25 Natural Sance, 5,8 14, 25 ‘Norman Lowey, 83, 5 Tf 1,92 improvistion, x 24, 10-11, 25, 40,75 Odysey Recon, 92 75 xilarors, 92 Improve, 10-11, 26 91 Paradigm, 92 Pauline Oliveros Foundation, 83, performer 42,51 Ione x a xv, 39. 73-76, 83, 86, 94,97 polythythms, 26 Posture, 23, 5, 12,20, 89 John Cage, 74, 76-77, 93 proces i, sae es J 18,25 John Daido Loos, 93 39, 7, 8, 69-73, 75,77, John Rockwell, 0, 92 process tnining. 1 95 pulse, 25-27, 82, 87, 91 Kimbealy McCarthy, 94 Kim Nye, 60, 62,88 Ramon Sender Barayon, i 96 Reaction Times 4 25-26 ‘Lama Govinda, 73 recordings 1719, 27-28, 38, Lester Ingbes, 93 65, 83, 9697 listening, i xii, wre, xxix 4, 6 8- relaxation, xv xin 59-60, 62, 10, 12-20, 22-24, 26:36, 38-40, 42, Rensselaer Polytechnic Insitute, 94 4446, 48-50, 52, 54-60, 62-65, 66, receas h i so si, 83, (68-80, 82-89, 91-97, 100 shythm cde, 2 424, 26 55 Lucia Dlugoszewaki, xv Rober: Exton, 0 9 Roger Reynlé, 93 Maia Yuri Kesar, 80, 97 i “mance, 13,89, 96 Maser EK. Hsih, 93 ‘San Francico Tape Masi Ce Meditation, xi, i, sien 2, 12, 17, Sensation, 5, 21-22 32,35, 39, 43-44, 5962, 73-77, 80- Should and Body Slap, 7 81, 86 89, 93, 96 sence, ei, in 12. 1616 747% meridian, 95 Smich Pullicacons, 35 87,9 Mis College, 80, 9 sof focus, 56 mixing, 27-28 sonic, sn site, xen 4, 13 Mohamed Khali, 63 347,64, 7072, 9788.Pauline Oliveros +101 “Tibetan Buddhism, si "Ty Suewena 64 “Tom Bickley, 94 Toning, 3,6 11 UCSD, xsi Univesity of California San Diego, sv, 92 Univeniry of Toronto, 92 virtual presence, xis 4 Vivienne Corsingham, 78 wave forms, 235 ‘Wilbur Ogden, xi, 91-92 workshop, xi, 58, 73-75, 78-79 “Wrap and Slap, 6 Yor, xi svi, 7, 9, 83-84, 89, 93, 96 Zen, seit sx, 80, 93, 97