Day 146 of A Year of Deep Listening


Aural artist, sound designer, media maker and university lecturer with a career that encompasses various forms of media, music and sound creation, with an emphasis on performing arts, time-based arts, digital media and creative research in sound, media and performance practices with a focus on creative expressiveness, narratives and languages. Currently developing the experimental lofi songs project ‘Lunileptik’.


Day 145 of A Year of Deep Listening


FOR SOLO LISTENER, by Chuck Johnson

Chuck Johnson is a composer and musician residing in Oakland, CA. He approaches his work with an ear towards finding faults and instabilities that might reveal latent beauty, with a focus on pedal steel guitar, experimental electronics, alternate tuning systems, and composing for film and television.


Day 144 of A Year of Deep Listening



Suzanne Thorpe is a composer/performer, researcher and educator who lives at the foot of the Catskill mountains, on the banks of the Hudson river in New York. She creates compositions with a variety of media and technology, and performs primarily with electroacoustic flute and electronics. Her work, in all its forms, listens for and performs our cultural and material navigations and transformations in sound. Thorpe holds an MFA in Electronic Music & Media from Mills College, and a Ph.D. in Integrative Studies from the University of California, San Diego. She is also a Deep Listening instructor, having studied in depth with American composer and Deep Listening founder Pauline Oliveros. Through an interdisciplinary method that combines creative practice with feminist and ecological theory, her research focuses on sound events that emphasize principles of inclusion, relational knowledge and coalition building.


Day 143 of A Year of Deep Listening


QUARA(N)TTUNE, by Doug Van Nort

Doug Van Nort’s work integrates electroacoustic music and collective improvisation with machine agents, immersive sound, embodied listening and networked performance practices. Recent projects range from composition for his Electro-Acoustic Orchestra, soundscape piece for ancient Chinese bells (Smithsonian), a large-scale interactive ballet piece (National Ballet School of Canada), and an evolving, solar-powered environmental sound installation (Fieldwork). Van Nort is founder of the Dispersion Lab and is currently Canada Research Chair in Digital Performance at York University in Toronto.

Day 142 of A Year of Deep Listening


SUZU NO HIBIKI, by Edward Schocker

Edward Schocker is a composer and performer who creates music with made/found materials and alternate tuning systems. He holds an M.A. in composition from Mills College, where he studied with Pauline Oliveros, Alvin Curran, and independently with Lou Harrison. At Mills, Edward founded The Music For People & Thingamajigs Festival, an annual event in The Bay Area devoted to unusual instruments and tunings..

Day 141 of A Year of Deep Listening


IMMANUEL KANT, by Joseph Clayton Mills

Joseph Clayton Mills is a musician and multimedia artist who works at the intersection of language, composition, and archival practice. His text-based paintings, assemblages, and sound installations have been exhibited in the United States and Europe. Since 2013, he has curated the micro-label Suppedaneum, focused on releasing scores and their realizations.

Day 140 of A Year of Deep Listening


Impermanence, by Nancy Beckman

Nancy Beckman studied the shakuhachi at Myoanji Zen temple in Kyoto where she received her license to teach the traditional solo Zen Buddhist meditational pieces. She has been inspired by studying Deep Listening with composer Pauline Oliveros and the Four Fold Way with Angeles Arrien. Based in Berkeley, California, she teaches Myoan shakuhachi, and is engaged in experimental music. She is also a Certified Music Practitioner in the Music for Healing and Transition Program. She is a member of the ensembles Cornelius Cardew Choir, Gusty Winds May Exist, and Dream Down Duvet.

Day 139 of A Year of Deep Listening


AUTUMN walk to an improvised performance, by TIM BUSHNELL

This score is self-contained and may be performed by anyone who cares to do so, in any manner they deem appropriate, given the required seasonal conditions.

Tim Bushnell is a musician, and a mature student of retirement age who is studying part time for a postgraduate MA in music at Oxford Brookes University.

Day 138 of A Year of Deep Listening


vowel string (o), by Michael Peters

From “Vowel Strings,” for multiple voices. Strings are to be read as long as the performer’s breath will hold; the first performer to gasp for air will say the first consonant of the consonant cluster, signaling the string’s end to the other performers. Select, divide, and distribute the consonants among performers as seen appropriate.

Michael Peters is the author of Vaast Bin (Calamari Press) and other assorted sound, visual, and text-based works. Peters explores the periphery of the real in old and new media, utilizing sound-imaging strategies as something like a poet, a visual poet, a sound poet, a fictioneer, a musician, an essayist, and a sound environment programmer. In addition to online and print journals, his works are scattered in special collections and avant-garde libraries like The Sackner Archive, as well as anthologies like The Last Vispo Anthology (Fantagraphics) and Resist Much/Obey Little (Spuyten Duyvil).

Day 137 of A Year of Deep Listening


Soundtrack Listening, by Brenda Hutchinson

Excerpted from “The Little Listening Book” a collection of listening based meditations, strategies, games, etc., developed over the years with and for my classes, among other occasions.

Brenda Hutchinson is a composer and sound artist whose work is based on the cultivation and encouragement of openness in her own life and in those she works with. Through her work with large-scale experiments in socially based improvisations and interactions, Brenda has developed a body of work based on a perspective about interacting with the public and non-artists through personal, reciprocal engagement with listening and sounding. She continues to explore and share with others the conceptual, aesthetic and relational possibilities that arise from this type of activity. Brenda is the recipient of the Gracie Allen Award from American Women in Radio and Television and has received support from the National Endowment for the Arts, Lila Wallace, McKnight Foundation, NY State Council on the Arts and Meet the Composer among others. Recordings of her work are available through TELLUS, Deep Listening, O.O. DISCS, Frog Peak Music and Leonardo Music Journal. She has been an artist in residence at San Quentin Prison, Headlands Center for the Arts, Harvestworks, Exploratorium, Ucross and Djerassi.