I’ve always thought that art is a lie, an interesting lie. And I’ll sort of listen to the “lie” and try to imagine the world which makes that lie true…what that world must be like, and what would have to happen for us to get from this world to that one.
BRIAN ENOThe great benefit of computer sequencers is that they remove the issue of skill, and replace it with the issue of judgement
More Brian Eno Quotes
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I belong to a gospel choir. They know I am an atheist but they are very tolerant.
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Cultural objects have no notable identity outside of that which we confer upon them. Their value is entirely a product of the interaction that we have with them.
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It’s amazing how quickly people get used to bad quality.
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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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I don’t live in the past at all; I’m always wanting to do something new. I make a point of constantly trying to forget and get things out of my mind.
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As struggles go, being an artist isn’t that much of one.
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I wanted to get rid of the element that had been considered essential in pop music: the voice.
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For me it’s always contingent on getting a sound-the sound always suggests what kind of melody it should be. So it’s always sound first and then the line afterwards.
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Once you’ve grown to accept something and it becomes part of the system you’ve inherited, you don’t even notice it any longer.
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Because if someone does that, you can find your own position in relation to it: what is it that I don’t agree with? In the studio I want to articulate a position clearly enough so that other people can use it – or chuck it away if they don’t want it.
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A responsible designer might try to overcome this limitation – probably the engineers at Marshall tried, too. But that sound became the sound of, among others, Jimi Hendrix. That sound is called electric guitar.
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Of course, like anybody I repeat myself endlessly, but I don’t know that I’m doing it, usually.
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If I tried to make a commercial album, it would be a complete flop. I have no idea what the world at large likes.
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There are certain sounds that I’ve found work well in nearly any context. Their function is not so much musical as spatial: they define the edges of the territory of the music.
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If you think of the way a composer or say a pop arranger works – he has an idea and he writes it down, so there’s one transmission loss. Then he gives the score to a group of musicians who interpret that, so there’s another transmission loss.
BRIAN ENO