Everything good proceeds from enthusiasm.
BRIAN ENOI hate talking about music, to tell you the truth.
More Brian Eno Quotes
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I hate the thought that someone had picked up one of my song records and was really excited about it, and walks [out of] a record shop with On Land and is disappointed because it isn’t what they wanted.
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The idea that something is uncool because it’s old or foreign has left the collective consciousness.
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What happens with notation is that it reduces things to a language which isn’t necessarily appropriate to them. In the same way that words do, you get a much cruder version of what was actually intended.
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Most of those melodies are me trying to find out what notes fit, and then hitting ones that don’t fit in a very interesting way.
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Of course with everybody else aiming there as well that makes it very hard and expensive to hit. I prefer to shoot the arrow, then paint the target around it. You make the niches in which you finally reside.
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I love the sort of ambivalence of this, the ambiguity of something – being, for instance, in a quite busy Mexican restaurant with one of these very gentle tracks playing I remember as being particularly nice.
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I still do mostly listen to CDs. I think that every format really is a different way of listening. If you take a different sort of psychological stance to it – like, I think the transition from vinyl to CD definitely marked a difference in the way people treated music.
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I see TV as a picture medium rather than a narrative medium.
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The most important thing is the thing most easily forgotten.
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You either believe that people respond to authority, or that they respond to kindness and inclusion. I’m obviously in the latter camp. I think that people respond better to reward than punishment.
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The thing that obsesses me more than anything is waste – the waste of human intelligence and creativity.
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At the beginning of the 20th century, the ambition of the great painters was to make paintings that were like music, which was then considered as the noblest art.
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In fact, quite a lot of what I do has to do with sound texture, and, you can’t notate that. You can’t notate the sound of “St. Elmo’s Fire.” There’s no way of writing that down. That’s because musical notation arose at a time when sound textures were limited.
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The muscles are there simply to serve the head. But that isn’t how traditional players work at all; musicians know that their muscles have a lot of stuff going on as well. They’re using their whole body to make music, in fact.
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But now you see the results of that in people who are completely crippled unless they know that they have the possibility of “cut and paste” and “undo.” And “undo” and “undo” and “undo” and “undo” and “undo” again.
BRIAN ENO