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Display Case 1. Pauline Oliveros. Retrospective

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Display Case 1. Pauline Oliveros. Retrospective Display Case 1. Pauline Oliveros. Retrospective In this display case we can see a selection of technological projects made wholly or partly by the artist during her career. They include some of the telematic performances in which she engaged for several decades, as well as the usage of programming languages, sampling, software, and especially the Expanded Instrument System (EIS). 1 Preliminary documentation for Lion ’s Eye (versión HMSL ). Print Pauline Oliveros was commissioned to compose this work in 1985. She prepared two versions during that year, the first to be performed with Gamelan (a traditional Indonesian instrument ensemble), and the second to be played by a synthesiser. Details of the latter are given in this documentation. In the audio files of this exhibition there is a third version made in 1989 and entitled Lion ’s Tale for Sampler , with samplings of the compositions named. 2 Master score of Lion ’s Eye , 1985. Handwritten 3 Score of Lion ’s Eye , 1985. Print 4 Letter from Cornelia Colyer to Pauline Olivero s. Print First page of the “ COMMAND PROGRAMME FOR THE LEXICON 42 DELAY PROCESSOR” . Print Documents related to the Lightning Box project made by the software programmer Cornelia Colyer, during Pauline Oliveros ’ residency in the Banff Centre (Banff, Alberta, Canada) in 1990. One of the aims was to design a programme that overcame the physical limitations of the use of pedals. This element of research would be used later on as part of the Expanded Instrument System (EIS). 5 Crone Music . Diagram of the sound system . Print This diagram outlines the system of delays, peals, and circuit designed for the performance of the work Crone Music (1989-1990), commissioned by the New York-based experimental theatre group Mabou Mines for its production of Shakespeare ’s King Lear . It is performed by Pauline Oliveros and Panaiotis. The work was composed as a solo for accordion and the Expanded Instrument System, still as an analogue version. 6 Programme of the Music, Technology and Innovation Research Centre. New Media Events , 2007-2008. Wednesday, 21 November 2007, 7:00 p.m. 7 The Princeton Laptop Orchestra (PLOrk) , directed by Dan Trueman and Perry Cook, with Zakir Hussain Pauline Oliveros and So Percussion. Ric hardson Auditorium at Alexander Hall , Princeton University . Tuesday, 4 April 2000, 8:00 p.m. Booklet First performing in 2006, the Princeton Laptop Orchestra, or PLOrk, takes the traditional model of the orchestra and reinvents it for the 21st century. Each laptopist performs with a laptop and custom designed hemispherical speaker that emulates the way traditional orchestral instruments cast their sound in space. Pauline Oliveros collaborated with PLOrk the same year of their foundation. 8 Through the Distance. Musical Connection s. A multi-site concert through PictureTel. Saturday, 6 April 1996, 8:00 p.m. Conference Room. Vogelback Computing Cente r, Northwestern University , Evanston, Illinois. Booklet Pauline Oliveros was a pioneer of telematic concerts. Her first on a large scale was performed in 1991 and linked six cities. The telephone line prioritised the strongest signal, and the still image was updated every five seconds. This 1996 performance permitted the transmission of higher quality images and sound. The Deep Listening Band performed in a distributed format with Pauline Oliveros at Northwestern University in Illinois, David Camper at The Kitchen, a contemporary art and performance venue in New York, and Stuart Dempster at the Speakeasy Café in Seattle, Washington. In the large-screen projection in CGAC's Double Space we can view one of these performances at the Guelph Jazz Festival in Ontario, Canada, in 2010. ALL DOCUMENTS BELONG TO F. W. OLIN LIBRARY, MILLS COLLEGE, OAKLAND, CALIFORNIA. COURTESY OF THE PAULINE OLIVEROS TRUST. ALL RIGHTS RESERVED. Display Case 2. Pauline Oliveros. Retrospective This display case contains documents related the dance and theater collaborations by Pauline Oliveros. Collaborations with choreagraphers and playwrights became a focal point of her career. 1 Yellow Springs Institute Program. Nzinga, the Queen King. October 5, 1991. Booklet Play with text by IONE, and music by Pauline Oliveros. This play was partially commissioned and developed during a two week residency at Yellow Springs Institute. It departs from a research by IONE on the regent of Angola, Nzinga Mbandi. In 1987, IONE begun this collaboration with Pauline Oliveros. 2 The Deborah Hay Dance Company with Pauline Oliveros and Sounding/Way. Saturday September 15, 1984. Theater Center for the Arts Wesleyan University. Booklet This is the booklet for The Well, with choreography by Deborah Hay and music by Pauline Oliveros. Among the musicians: Stuart Dempster, Deep Listening Band member. It is structured in four parts: Part I The Receptive, is emptiness. Part II The Well, inexhaustible nourishment. Part III Preponderance of the Great. Preponderance of the Great is the peak. Part IV The Gentle, is ceaselessness and homecoming. 3 Portraits of Pauline Oliveros (right) and Deborah Hay (left) in Mt. Tremper, New York . Two black and white photographs by Barry Bryant, 1982 In 1981, Pauline Oliveros moves to Mount Tremper, in the Catskills area (New York), after resigning from her position at UCSD. Here she is photographed with Deborah Hay, with whom she completed a number dance of collaborations. 4 Merce Cunningham Dance Company. Events with Pauline Oliveros 17-22 November. Booklet Between November 17th and 22nd, 1981, Oliveros performed a series of works at the Merce Cunningham Studio. David Tudor intervened in these sessions, among other musicians. Horse Sings from Cloud and The Witness , were part of the programme. Oliveros had collaborated with Merce Cunningham in 1969, composing the music for Canfield , which included stage design by Robert Morris, and costumes by Jasper Johns. 5 Car Mandala 10-17-88 . Composition/drawing on diary page 6 Performance. Ghostdance. Workshop . Booklet 7 Ghostdance. Pauline Oliveros . Two black and white photographs. Unidentified author 8 Paula Josa-Jones Pauline Oliveros Solo Works. Centro Cultural Espacio en Movimiento (Monterrey, Mexico). Booklet ‘The Ghostdance collaboration with choreographer Paula-Josa Jones began in Monterrey Mexico ... Together with our host—composer/ethnomusicologist Arturo Salinas—we attended El Dia de los Muertos in Chalco to help inform our work. The beauty and depth of the ceremonies, ritual dancing and music honoring the dead touched me deeply as did the dancers we worked with in Monterrey. I am grateful for the experience that was shared with me so graciously by the Nahuatl-speaking families of Chalco and the dancers of Monterrey. The Ghostdance soundscape begins with my recording of a flock of grackles who were roosting in the trees by my hotel in Chalco...’ Pauline Oliveros Ghostdance premiered in 1996 at Lincoln Center, New York, as part of out-of-doors, and Radcliffe Yard, Cambdridge, Massachusetts. 9 Skin Flesh. New Performance Works by Paula Josa-Jones with Pauline Oliveros, 1991. Booklet 10 Danza evolución de la naturaleza . Newspaper clip. Chronicle of Paula Josa- Jones and Pauline Oliveros’ performance in Centro Cultural Espacio en Movimiento (Monterrey, Mexico) ALL DOCUMENTS BELONG TO F. W. OLIN LIBRARY, MILLS COLLEGE, OAKLAND, CALIFORNIA. COURTESY OF THE PAULINE OLIVEROS TRUST. ALL RIGHTS RESERVED. Display Case 3. Pauline Oliveros. Retrospective 1 Six for New Time for Sonic Youth . P auline Oliveros. 14 February 1999 . Printed copy Six for New Time for Sonic Youth is a composition by Pauline Oliveros, with lyrics by IONE, for the album by the Sonic Youth alternative rock band entitled SYR4: Goodbye 20th Century , and which also features compositions by John Cage, Yoko Ono, Steve Reich, and others. The album was released in 16 November 1999. 2 Six for New Time for Sonic Youth. Strikethrough: Sextet for the End of the Century. Pauline Oliveros. 14 February 1999. Handwritten 3 Six for New Time. For Pauline. By IONE. “Ouija says ...” Handwritten 4 Portrait of Pauline Oliveros (left ) and IONE (right ). Black and white photograph by Miriam Cahn, 1991 5 Deep Listening Band in concert . Black and white photograph by John Fago, undated 6 Pauline Oliveros with accordion . Promotional postcard , undated 7 Pauline Oliveros playing accordion . Black and white photograph by Miriam Cahn, 1991 8 Pauline Oliveros playing accordion. Contact sheet. Black and white photographs by Pam White, undated 9 Pauline Oliveros. 2nd Acustica International F estival , Whitney Museum of American Art, April 1990. Contact sheet . Black and white photographs by Paula Court. [Further information on DreamHorse Spiel concert to be found in display case 6 ] 10 Pauline Oliveros in Leucadia . Black and white photograph by Becky Cohen, 1979 11 HOME OM HO HOME HO HOME , etc. 8-6-1986 . Handwritten composition Reproduced in Roots of the Moment , Drogue Press, New York, 1998, pp. 28-29. ALL DOCUMENTS BELONG TO F. W. OLIN LIBRARY, MILLS COLLEGE, OAKLAND, CALIFORNIA. COURTESY OF THE PAULINE OLIVEROS TRUST. ALL RIGHTS RESERVED Display Case 4. Pauline Oliveros. Retrospective 1 I Heard a Boy Singing. Robert Duncan. By Pauline Oliveros, November, 1968. Typed composition , 1968 2 Dream Gates. Pauline Oliveros . Composition , print , 1989 3 Pauline Oliveros giving a workshop in the Theater School for New Dan ce Developmen t, Amsterdam . Black and white photograph by Benno Voorham ,1984 4 Earth Ears. Pauline Oliveros. Composition, print and handwritten inscription, 1983-1984 5 The
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