Law is always better than war.
BRIAN ENOI always use the same guitar; I got this guitar years and years ago for nine pounds. It’s still got the same strings on it.
More Brian Eno Quotes
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When you look back on a historical period of music, it seems so obvious to you what the characteristics of it are, but they’re not obvious at the time. So, when I look back at my own work.
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A big ego isn’t necessarily a bad thing. A big ego means that you have some confidence in your abilities, really, and that you’re prepared to take the risk of trying them out.
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I felt extremely uncomfortable as the focal point, in the spotlight. I really like the behind the scenes role, because all my freedom is there.
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Avant-garde music is sort of research music. You’re glad someone’s done it but you don’t necessarily want to listen to it.
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The handbook always tells you what it does, and you can be quite sure that if it’s a complex device it can do at least fifteen other things that weren’t predicted in the handbook, or that they didn’t consider desirable. It’s normally those other things that interest me.
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American television really is pathetic.
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I had an interesting day. I was in the studio with a group of musicians, who shall remain nameless, and I said to them “Our exercise today is not to use ‘undo’ at all. So, there’s no second takes. Or, if you do a second take, you have to do the whole take.
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It’s nice, I think, when people use your music for things you didn’t think of.
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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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Once I started working with generative music in the 1970s, I was flirting with ideas of making a kind of endless music – not like a record that you’d put on, which would play for a while and finish.
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I see TV as a picture medium rather than a narrative medium.
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I believe in singing.
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Some people are very good at being ‘stars’ and it suits them. I’m grudging about it and I find it annoying.
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Painting, I think it’s like jazz.
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You know that in order to copyright material somebody has to write it down for you. Any piece of recorded material has to be scored in order for it to be copyrighted.
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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.
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The Marshall guitar amplifier doesn’t just get louder when you turn it up. It distorts the sound to produce a whole range of new harmonics, effectively turning a plucked string instrument into a bowed one.
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Saying that cultural objects have value is like saying that telephones have conversations.
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You don’t have to act as if you know what you’re doing
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I want to rethink surrender as an active verb.
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I’m very good with technology, I always have been, and with machines in general. They seem not threatening like other people find them, but a source of fun and amusement.
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When people censor themselves they’re just as likely to get rid of the good bits as the bad bits.
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When I was working with Talking Heads what would happen typically is that they would go out and start playing a track, and I would always run the tape.
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I occasionally meet people and they say, ‘Oh, I was born to Discreet Music’… They always have very weird eyes, those people.
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Stop thinking about art works as objects, and start thinking about them as triggers for experiences.
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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.
BRIAN ENO