Anne Bourne sound artist/ composer, improvises parallel streams of extended cello and voice. Anne was introduced to Pauline Oliveros over distance in 1994 for a Telematic improvisation with ensembles from Toronto and Paris, joining Pauline's Deep Listening band, simultaneously heard by their audience at the Kitchen in New York. Anne travelled to the Rose Mountain retreats with Oliveros, in the sangre de Cristo mountain range in New Mexico to deepen her listening aand com position practice. Anne performed the premier of Pauline Oliveros’ composition ‘Primordial/Lift’ with David Grubbs and Tony Conrad NY, 1998, and on all subsequent performances and recordings of this piece. a listening experience based on infrasonics illuminating the resonant frequency of the earth. Anne organized a second XAvantXI Music Gallery concert, to perform with Pauline Oliveros, Doug van Nort and IONE, 2016. Oliveros passed away peacefully just over one month later. At the invitation of Ione and International Contemporary Orchestra, Anne led Oliveros' Tuning Meditation at a memorial at the Park Avenue Armory. Anne continues to carry the text scores of Pauline Oliveros, to offer an experience of collective creativity in a gesture of sonic peace.
When you listen particles decide to be heard
Pauline Oliveros, Quantum Listening, IGNOTA
I shared my idea of the Soundfield Memory Restoration Archive, that we can replicate the physiological response to a soundfield that we love through memory and that memory as an archive, allows for the possibility that just as we memorized books when books were being burned , we can memorize sound fields in defiance of extinction, with the quantum possibility that particles may migrate out of our memories into the environment when it is safe and seed the re-emergence of a vibrant multispecies environment. When I shared this recently with Allison Glenn, curator of Toronto Biennale 2026, she responded, embodied knowledge resists erasure.
Listening, I don't perceive hierarchy. Within the synchronicity of a field of pulses, I attune to a vibratory shimmer. Improvising I find my voice without censoring. Opening to musical traditions and tuning systems from the multiplicity, I become a citizen. Listening with other species, elements, in weather, I discover a way to essential being. In my experience, creative expression eases, suffering, mine/ others.
We have voice. In the city the edges of a sound field are pronounced, overlapping sonics complex and self-integrating. People stand for their songs. We brace against noise, embrace each other in the create against all odds climate we find ourselves waking up in. A community of many becomes culture.
I have been focussed on being present for the more than human sound field. Outsider to culture, belonging to the sea. I press footsteps as self-expression. Attending all the brackish tributaries, the basins, rivers and lakes, I submerge in the language of waves, listen with in each arrival, trace in sound the line where water meets land. I carry a sound field memory restoration archive into extinction. I compose field recordings of listening. Streams of sonics emerge through my cello, my voice and the electroacoustic processing of piano tones, chorales in spatial array. Offering listening walks, sounding gatherings for all voices, I explore equanimity, translation, microtones, embodied sonic archiving, collective creative expression. My contemplation is non-violence, a fluidity of reciprocal care at the bottom of the ocean, and time. I create with those who stand for the wild.
About Deep Listening
Deep Listening® is a three fold listening practice created by composer Pauline Oliveros. The practice engages Oliveros' intention of 'listening to everything it is possible to listen to all the time,' and it is embodied through a shared experience of listening and sounding the text scores.
“Pauline Oliveros has abandoned composition/performance as it is usually established today for sonic explorations which include everyone who wants to participate. She attempts to erase the subject/object or performer/audience relationship by returning to ancient forms which preclude spectators” - Sonic Meditations, Smith Publications, 1974.