Sometimes you recognize that there is a category of human experience that has not been identified but everyone knows about it. That is when I find a term to describe it.
BRIAN ENOSaying that cultural objects have value is like saying that telephones have conversations.
More Brian Eno Quotes
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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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I see TV as a picture medium rather than a narrative medium.
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I don’t like celebrity programmes – but I do like programmes about how ideas are formed and evolve.
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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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People in the arts often want to aim for the biggest, most obvious target, and hit it smack in the bull’s eye.
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People always focus on people like me who use synthesizers, right, which are explicitly electronic and therefore obvious.
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The philosophical idea that there are no more distances, that we are all just one world, that we are all brothers, is such a drag! I like differences.
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I think we’re about ready for a new feeling to enter music. I think that will come from the Arabic world.
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I can see the use and value of religion, just as I can see the use of mud wrestling, yoga, astronomy and sadomasochism. but I reject the idea that you can’t be a deep human being without it or any of them.
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Well, there are some things that I just can’t get out of my head, and they start to annoy me after a while.
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When I was young, an eccentric uncle decided to teach me how to lie. Not, he explained, because he wanted me to lie, but because he thought I should know how it’s done so I would recognise when I was being lied to.
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I don’t want to do free jazz! Because free jazz – which is the musical equivalent of free marketeering – isn’t actually free at all. It’s just constrained by what your muscles can do.
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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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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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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.
BRIAN ENO