Display Case 1. Pauline Oliveros. Retrospective

Home , Deep Listening Band, Pauline Oliveros, Stuart Dempster

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)

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.

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 Tuning Meditation . Pauline Oliveros . Composition , printed card (1971, card printed later ) Verso: From Sonic Meditations

6 Sonic meditation . Black and white photograph, undated

7 Ear Rings. Pauline Oliveros . Composition , print , 1995

8 First Deep Listening annual retreat . Rose Mt. Las Vegas, New Mexico . Five color photographs by David Felton, 19 91 Each retreat lasted for one week and proposed listening 24 hours a day. Including listening through dreaming as well as waking. Heloise Gold and IONE taught alongside Pauline Oliveros.

9 Anthology of Text Scores . Pauline Oliveros . Ed. Samuel Golter , D eep Listening Publications, New York, 2013 David Tudor and Pauline Oliveros had a close friendship from their time together at the San Francisco Tape Music Center. They both directed Tudor Fest in 1964. That same year Pauline Oliveros composed for David Tudor the piece Duo for Accordion and Bandoneon with Possible Mynah Bird Obliggato. Publishing has always been in integral part of Pauline Oliveros practice as well. There are three compilations of her writings: Software for People. Collected Writings 1963–1980 (pub. 1984), Roots of The Moment. Pauline Oliveros. Collected Writings 1981–1995 (pub. 1998), and Sounding the Margins. Collected Writings 1992-2009 (pub. 2010). Noteworthy of mention is Deep Listening. A Composer’s Sound Practice, published in 2005 by Deep Listening Publications.

DOCUMENT 9: PRIVATE COLLECTION Display Case 5. Pauline Oliveros. Retrospective

1 Series of postcards in collaboration with conceptual artist and Fluxus member Alison Knowles. These postcards are inserted in the wider feminist art move - ment of the nineteen-seventies. We can see images of Pauline Oliveros and Alison Knowles as children. Oliveros had a close friendship and collaboration relationship with Alison Knowles, as well as Dick Higgins, husband of Alison Knowles and artist, poet and publisher. Pauline Oliveros was a member of Printed Editions (publishing house founded by Higgins), together with John Cage and Geoff Hendricks, among others. Alison Knowles / Pauline Oliveros. Postcard Theater (bottom left). Recto: Brahms Was a Two-Penny Harlot . Verso: Alison Knowles at the Beach . Pauline Oliveros With a Dagger. Aenjai Graphics. Postcard, c. 1970 Alison Knowles / Pauline Oliveros. Postcard Theater (bottom right). Recto: Mozart Was a Black Irish Washerwoman . Verso: Pauline Oliveros at The Zoo . Photo: Becky Cohen. Aenjai Graphics. Postcard, c. 1970 Alison Knowles / Pauline Oliveros. Postcard Theater (top left). Recto: Chopin Had Dishpan Hands . Verso: Hannah and Jessie Higgins Play in Roaring Brook, Vt . Aenjai Graphics. Postcard, c. 1970 Alison Knowles / Pauline Oliveros. Postcard Theater (top right). Recto: Bach Was a Mother . Verso: Jessie Higgins with a Flower . Aenjai Graphics. Postcard, c. 1970

2 Alison Knowles / Pauline Oliveros. Postcard Theater . Recto: Beethoven Was a Lesbian. Verso: Composeress Pauline Oliveros Poses in Her Garden . Alison Knowles Graphics. Postcard, c. 1970

3 For Alison Knowles AKA All is On 3-19-85 . Handwritten composition, 1985

4 What’s Cooking. Schedule of events . University of California San Diego UCSD. Center for Music Experiment. Booklet, February, 1985 Pauline Oliveros cofounded the Music Departament at UCSD, and directed the Center for Music Experiment. She lec - tured at UCSD from 1967 to 1981. In 1976 she organized the first What’s Cooking Conference Festival on perfor - mance art, with Allan Kaprow.

5 A Garland for John Cage . Handwritten score, 1986 Pauline Oliveros and John Cage had a relationship of mutual admiration, in 1989 Cage said: ‘Through Pauline Oliveros and Deep Listening, I finally know what harmony is… It’s about the pleasure of making music.’ John Cage, 1989 6 Pauline Oliveros at the Zoo . Black and white photograph by Becky Cohen, c. 1970 Pauline Oliveros at San Diego Zoo with Alice the elephant.

7 Promotional poster for Cheap Commissions by Pauline Oliveros. Collage, April, 1986 8 Cheap Commissions by Pauline . Black and white photograph by Pat Szydelko, 1981* Recto inscription: FLEA MARKET, LEUCADIA, CALIFORNIA 7-3-81 *Editor’s Note: 1981 date is most likely a typo.

9 Cheap Commission for Beverly . Handwritten composition, 1986 [Part of the project Cheap Commissions ] 10 CD cover of Pauline Oliveros. The Wanderer , 1984

DOCUMENTS 1, 2, 3, 9 AND 10: PRIVATE COLLECTION Display Case 6. Pauline Oliveros. Retrospective Here we can witness part of the creative process of Pauline Oliveros. We have included documents related to two of her works: Dream Horse Spiel and Wind Horse . These documents represent different stages in the production of these compositions, there are several iterations of them, as well press cuttings and cut outs that were part of the research process. 1 Cowboy cutouts , undated Newspaper clips on the world of horses , c. 1988

2 PO – DREAM HORSE . Printed score with handwritten inscriptions 3 DREAM HORSE SPIEL . Printed score with handwritten inscriptions

4 Two handwritten pages . Draft for Dream Horse Spiel , c. 1988

5 Wind Horse . Composition for choral work . Four handwritten yellow paper sheets , 1989 Pauline Oliveros refers to this composition as ‘a chorus based on listening and responding in a variety of ways and using the Wind Horse mandala as a kind of map for organizing and creating the performance.’ [In: Deep Listening Publications ]. Wind Horse was commissioned the Anna Crusis Women's Choir, the oldest existing feminist choir in the U.S.A. Documents here show the textual composition, together with two preliminary versions for the mandala. 6 Wind Horse mandala . Preliminary version . Handwritten on white paper

1 Score for Epigraphs in the Time of Aids . Pauline Oliveros. Published in 1994 by Deep Listening Publications (Kingston, New York). Six pages

1 Sonic Meditations. Dedicated to the ♀ Ensemble and Amelia Earhart . Typed document (essay's first page ), March -November 1971 Pauline Oliveros reflects on Sonic Meditations, developed in 1971. She later expanded these ideas in a paper written in 1973 as part of her Guggenheim Fellowship and included in her anthology Software for People.

2 ♀ Ensemble performing outdoors . Pauline Oliveros with accordion . Black and white photograph , undated

3 Deep Listening Band . Contact sheet . Black and white photographs, undated

4 Deep Listening Band . Promotional picture . Black and white photograph by Gisela Gamper, undated

5 The Ready Made Boomerang by Deep Listening Band. Pauline Oliveros, Stuart Dempster and Panaiotis . Disc cover, 1991 The title references a mesostic that John Cage wrote in 1989 after listening to the Deep Listening recording.

6 Deep Listening. Pauline Oliveros. Stuart Dempster. Panaiotis . Disc cover First recording what was to become the Deep Listening Band. At the time of the recording, the band had not officially been founded yet. It was recorded by engineer Albert Swanson at Fort Worden Cistern, Washington. The cistern was built in 1907 and could reach a reverberation of 45 seconds. This recording is displayed in the CGAC Auditorium (please check for operation hours). [David Gamper joined DLB after this recording].

DOCUMENTS 5 AND 6: PRIVATE COLLECTION