A rare look at Pauline Oliveros
Oliveros didn’t pursue a career. She pursued community.
I was fortunate to attend a rare viewing of a documentary about the multi-faceted artist, musician, and composer, Pauline Oliveros. I probably first learned of Oliveros from electronic music magazines in the 1990s. I learned more, albeit not enough, during my university studies in experimental music. That is to say, the documentary revealed that I had glossed over her career, unaware of its nuance and inspiring trajectory.
Throughout my studies Oliveros was often described in two ways: a critical participant in the 1960s San Francisco Tape Music Center and creator of the concept she called "Deep Listening". Despite these glimpses into her work during those years, my university studies didn't go further. I never came to understand Deep Listening and what that meant. It didn't appear connected to the technology focus of my program.
However, over the years her impact became more evident and the documentary, "Deep Listening: The Story of Pauline Oliveros", directed by Daniel Weintraub, revealed more details I wish I had understood earlier.
I saw the film at The Philosophical Research Society in Los Angeles which stands partially hidden by dense trees on Los Feliz Blvd separating neighborhoods of dramatically different structures and classes. The auditorium is worn, brown, muted, and reverberate. All of this seems appropriate for reverence and reflection. I came to this documentary with an unfortunate question in mind, "I believe Oliveros is a 'important' but... for what?"
I found myself anticipating the stories surrounding the San Francisco Tape Music Center. The history of this center has played a major role in experimental, musical ideas within the U.S. I almost wanted to cheer once the film covered that period of time. Hearing stories of how these young artists purchased a building and rented the lower half in order to finance an experimental recording studio above was inspiring. They created and performed highly experimental compositions that helped us redefine our understanding of sound and music into our present time.
I ate every moment of these scenes and found myself stricken by Oliveros work presented later in the film. Her career journey is seemingly one of spiritual investigation represented through communal activities. This was very evident in the final work presented in the film. Oliveros' collaboration with Tarek Atoui as a part of the Bergen Assembly in Norway.
Titled, "Sonic Therapy Sessions, Deep Listening with Pauline Oliveros", the performance gathered deaf, non-artists who were asked to propose and define their ideas of musical instruments.
This is an amazing concept. It’s easy to assume the hard-of-hearing community has limited relationship to sound. This is untrue. This concept of asking that audience to define and invent kinds of music instruments can reveal a lot. It reminds me of the ritual around music making and creation of tools. It allows the hearing community to reflect differently on their process of sound making and musical creation.
The documentary concluded with this significant project. It also described one final thought: Oliveros didn’t pursue a “career” in the traditional sense. Pauline pursued community.
I left the auditorium reflecting on my complicated “career” realizing I am better off building bonds (creatively and musically) above all else.
"Deep Listening: The Story of Pauline Oliveros" is not currently distributed. The director attended a Q and A and stated he continues to seek distribution and may make the film available for streaming soon. If you wish to have a viewing of the film, you can contact the director at his website.
Thoughts
How do you create community around your creative practice?
If you created a musical instrument, what would it be?
hey! i wrote my 222 page MA thesis on pauline & deep listening, lemme know if you’d like to read it!