With 10 other people, basically foreigners, I lay on the floor of a foreign battery emporium with my hand and closed my eyes. We all try to cross the internal hole between “the involuntary nature of listening and voluntary selective nature of listening”, which seemed to mean many other things. For me, it is a consultation of looking for live sounds for what they were, not what they wanted to say. The buzzing of a refrigerator and the traffic who have gradually moved from their banal contexts, revealing the variety and interconnection of what I conditioned to listen as generic and separate. It is more complicated to separate the clock from gear filming and the passage time. At the time I could, I felt very free.

The opportunity of a deep listening consultation with the qualified instructor Shannon Morrow. Listening to Deep is less than you than a way of doing all kinds of things: doing, meditating, communicating, composing or simply being in the world. It is difficult to summarize but easy to understand: a set of widely available philosophies and practices to create your awareness about the general sound. It is useful for anyone who wishes to expand a musical practice or unlearn traditional sound hierarchies.

It is also the art center of its creator, Pauline Oliveros, the composer, accessor, teacher and pioneer of 80 -year -old electronic music that is gently classified among the avant -garde and influential musicians of the avant -garde of the avant -garde in the mid -twentieth century, which is still strongly well governed by experimental music. It was not the first to be fascinated through pops and whistles in the rear regions of the radio group. But she was one of the first to do something, focusing on frequencies that on melodies, movements instead of rhythms, processes instead of results.

Oliveros only formalized deep listening a few decades ago, but his interest in listening to the sound at his edges, in addition to the ingenuity to eliminate it, obvious, since he performed his first works on a new edge full of magnetic tape, PC line platform, tone oscillators and primitive modular synthesizers. These are collected for the first time in reverberations: 1961-1970 Electronic music and music, a monumental box of vital albums.

An advantageous thing about the band’s music is that functionality is also the recording, so there was no shortage of devices for this retrospective, which fills a dozen records in almost so many hours. While any large band music collection will have its percentage of deult windshields, the vision and the variety of reverberations are and feel strangely intact through 50 years of imitation. In music, two different intelligences, a human and a mechanic, turn with caution and curiously. We listen to unpredictable events, captured at the time of discovery, adjusting the first principles of a new generation.

During the 1960s, in the Musical Bay Region, Oliveros told Terry Riley, Steve Reich and Loren Rush as compatriots. He played the accordion at the premiere in C. founded the San Francisco Music Music Center with Morton Subotnick. He was in the thickness of the natural electronic phase before his seminal electroacoustic work, the herbal sounds and the raw control signs such as fodder for the processing systems of his own design, which can be reproduced almost as instruments.

This promines it of their contemporaries, the maximum of which were meticulous cutters and episodes. His coil garage formula predicted Brian Eno, but instead of dream melodies, he filled it with exploited tones, working with masterly patience through the probabilities kaleidoscope in the specific control formula. Music turns out to be a vital incident, but the fact of sound is essential. It is a magical show evolved with competitive frequencies, which can do very strange things if you know what you are doing, as a Concord swallows its own root notes so that we can hear two absences of agreement.

Reverberations feel contemporary, with their Twitters and Aullando and their strange relatives; Your hypnotic and explosive events. It should, because it establishes really extensive bases for each artist of electronic drones and terrorists of hard noise to come, anyone based on signals that behave semi-previsible to exploit instinct beyond human capacity. In the intensity spectrum, Oliveros extends from the subtlety of Keith Fullerton Whitman to the violence of John Wiese. This attests to a safe position of benevolent radicalism that has been as influential as its technical innovations.

A really extensive check brochure accompanies this version, and there is a revealing moment in that of the artist Cory Arcangel, who studied music with Oliveros. He remembers that she described with emotion a functionality in the 1960s, where she established oscillators at the frequency of the room, so the sound has multiplied and sent other people to cry. “I need to send other people howle institutions!” Arcangel thought. The dawn of electronic music must have been an ideal time for this, when a moment Horizon gave the impression on music over the first one we had led for so long. It is more complicated to scandalize the academy now, but other people are still trying.

I can’t even pretend to have heard both a minute and in both minutes of reverberations. I tried to play in my morning in the afternoon one day, and it was, of course, overwhelming. I discovered more attractive to pay attention to the same portions and realize how they replaced both once. From the point of view of the deep borrow, music ends through its general sound environment, which is different. Upon hearing the “angel solution” of more than 30 minutes for the first time, a time was needed to realize that the song of birds intertwined in the curly higher frequencies came here from the screen door and not the speakers.

This porous border between music and global is without delay related to John Cage, but Oliveros was there with him, if not a little in front; I was just behind Stockhausen to expand an unusual language for electronic music. She built the generation that we have to win today, conscientiously listened to what she had to say, then brought her back to a humanistic and acoustic procedure in what can be considered as her first race, of the 1970s. But it would be a discredit for the revolutionary paintings captured in the reverberations. Listening strangely despite its intimidating mine, it also has one of the rarest virtues: the need. If it did not exist, the music is not known today either.

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