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"Artistic innovations spurred by curiosity rather than by intellectual principles arguably produce more compelling and enduring breakthroughs. And Pauline Oliveros was undeniably curious when it came to music. By the time she was 9, she picked up the accordion; soon, she learned to play the tuba and the French horn. She quickly proved to be a highly versatile and accomplished instrumentalist. The capacity that really shaped Oliveros's career as an experimental composer and electronic-music pioneer, however, was not her skill as a musician per se but her awareness of the broader sonic field that surrounded her as she played."

"Sounds carry intelligence. If you are too narrow in your awareness of sounds, you are likely to be disconnected from your environment. Ears do not listen to sounds; the brain does. Listening is a lifetime practice that depends on accumulated experiences with sound; it can be focused to detail or open to the entire field of sound. Octogenarian composer and sound art pioneer Pauline Oliveros describes the sound experiment that led her to found an institute related to Deep Listening, and develop it as a theory relevant to music, psychology, and our collective quality of life. Pauline is a composer and accordionist who significantly contributed to the development of electronic music. The culmination of her life-long fascination with music and sound is what inspired the practice of Deep Listening, the art of listening and responding to environmental conditions. As a Professor of Practice in the Arts Department at Rensselaer Polytechnic Institute, she produced highly regarded work as a composer and improviser. Pauline's 1989 recording, Deep Listening, is considered a classic in her field."

"On Practice: Listening asks: How can listening form a space of political encounter? What is the difference between listening and hearing? How do other people hear? This episode features artist Ain Bailey's collaboration with Micro Rainbow alongside recordings from Pauline Oliveros' tuning meditations, a sound piece from artist collective Ultra-red and a contribution from academic and sound practitioner Ximena Alarcón."

"What is "sound art"? Should we define it within the context of experimental music or the visual arts or both? While the term first came into being in the 1980s, sound in the visual arts has a far longer history, ranging from Modernist experiments with synesthesia to the avant-garde exploits of Dada and Futurism. Sound art also has a distinctly musical heritage, emerging from the compositional experiments of John Cage, Tony Conrad, La Monte Young, Maryanne Amacher, and Pauline Oliveros, among others. This conversation will serve as the keynote to an all-day interdisciplinary conference on sound art and experimental music."

"Every Saturday in April, anyone can be part of a global performance of Pauline Oliveros's "Tuning Meditation" over Zoom."

"Developed by Pauline Oliveros in collaboration with Leaf Miller and released in 2007, the AUMI is a camera-based software that enables various forms of instrumentation. It was first created in work with (and through the labor of) children with physical disabilities in the Abilities First School (Poughkeepsie, New York) and designed with the intention of researching its potential as a model for social change."