In my normal life I’m a very unadventurous person.
BRIAN ENOWhen people censor themselves they’re just as likely to get rid of the good bits as the bad bits.
More Brian Eno Quotes
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I don’t like headphones very much, and I rarely listen to music on headphones.
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I’m struck by the insidious, computer-driven tendency to take things out of the domain of muscular activity and put them into the domain of mental activity.
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My lyrics are generated by various peculiar processes. Very random and similar to automatic writing.
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I hate the rock music tradition. I can’t bear it!
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Everybody is entertained to death.
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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.
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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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If something is good, you must torture it mercilessly until it is either dead or great.
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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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Stop thinking about art works as objects, and start thinking about them as triggers for experiences.
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I do sometimes look back at things I’ve written in the past, and think, ‘I just don’t remember being the person who wrote that.’
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I love San Francisco and Brighton has something of San Francisco about it. It’s by the sea, there’s a big gay community, a feeling of people being there because they enjoy their life there.
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Think inside the work – outside the work
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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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Emotion creates reality, reality demands action.
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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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Quite often, and in fact more often, I would say, I’m struggling all the way through to think, “What is it I like about this? What is the personality of this thing I’m hearing that I like so much?”
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When I work there are two distinct phases: the phase of pushing the work along, getting something to happen, where all the input comes from me, and phase two, where things start to combine in a way that wasn’t expected or predicted by what I supplied.
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Most game music is based on loops effectively.
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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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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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Sometimes they’re of my own creation, as well – and they’re just as annoying. It’s not only other people’s ear worms that bug me, it’s my own, as well.
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Music in itself carries a whole set of messages which are very, very rich and complex, and the words either serve to exclude certain ones or point up certain others.
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Being completely free to choose what to do is actually quite difficult
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So, I try to make signs, graphically and visually, to say to people “Okay, this is this department of my work and this is this other department of my work.” And of course I’m very pleased if people like all of them, but I don’t want them to feel deceived at any point.
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Painting, I think it’s like jazz.
BRIAN ENO