Wikipedia's pretty murky here. Big, resonant places and stringed instruments.
A control-f skim of the various occurrences of "deep", here http://media.hyperreal.org/zines/est/intervs/oliveros.html , would probably get it across. She wrote a book with the title. I'll gamble wildly though by suggesting that in the synthesis versus recording (stockhausen v pierre schaeffer) (germany versus france) rivalries of early electronic music, from the field-recording-and-manipulation (the musique-concrete) side, there emerged a kind of soundscape or landscape-listening practice that privileged silence, and the absence of humans, and human things. Deep listening as an attentiveness practice that doesn't reflexively hate computers, is maybe something of a middle way. Hence the title of her early collected writings, "Software for People." There are a number of composers who investigate the nature of hearing as an active, attentive practice, and that, I suspect, is the short answer. The rest is Oliveros worrying about composition; it's probably not too distant from Brakhage's writing, really, except for the ear. On Thu, Oct 16, 2014 at 11:55 AM, Scott Dorsey <[email protected]> wrote: > Okay... someone has to explain the concept of deep listening to me. > --scott > _______________________________________________ > FrameWorks mailing list > [email protected] > https://mailman-mail5.webfaction.com/listinfo/frameworks >
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