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ASCAP Standard Award, 1982-98; and NEA fellowships in 1990, 1988, and 1984. In the arts, it was given voice by people such as Allen Ginsberg, John Cage, Susan Sontag, and Andy Warhol.
She has performed in the world's most prestigious venues, ranging from the John F. It was also quite notable for explorations of expanded consciousness through new-found uses of meditation, eastern religions, and psychedelics.
The ability to create "silence" selectively by focusing our listening is one of the greatest miracles of listening.
In the 1950s, the American composer John Cage developed an elaborate aesthetic based on indeterminacy.
This differs from the patriarchal traditions of western music, which emphasize the aesthetic ideology of the composer as a "lone, transcendentally inspired genius" who is regarded as the musical creator, while performers are considered his instruments and the public a relatively passive receptor (Osborne: This removal of hierarchical relationships encourages the development of community based on the interaction of every individual empathically listening deeply to the collectiveas illustrated by Sonic Meditation X (quoted in full at the beginning of this chapter.) It also leads to an emphasis on music making through improvisation and meditation, forms that characterize the Sonic Meditations.Special skills are not required, anyone can participate. In the second "Introduction" to the work, Oliveros writes that each Meditation is a special procedure for the following: Through her research, Oliveros concluded that the Sonic Meditations could produce healing, heightened states of awareness and expanded consciousness, changes in physiology and psychology, and new forms of communal relationships ( Sonic Meditations, "Introduction II")."Deep Listening is listening in every possible way to everything possible to hear no matter what you are doing.Such intense listening includes the sounds of daily life, of nature, or one's own thoughts as well as musical sounds.This same principle also defines the way we listen to life as a whole.Oliveros moves us away from thinking of music in terms of an idealized aesthetic object in the form of a composition, to an understanding of music as a process of creative cognition in an ever-changing, unfathomable world.