For the world to be interesting, you have to be manipulating it all the time.
BRIAN ENOSometimes 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.
More Brian Eno Quotes
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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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It’s actually very easy for democracy to disappear.
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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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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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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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I 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.
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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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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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What I would really like to do, if I could have a sort of kingship for a short time and organize the group of my dreams.
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The most important thing in a piece of music is to seduce people to the point where they start searching.
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Put out as much as you can. It doesn’t do anything sitting on a shelf.
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Most game music is based on loops effectively.
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Not many people bought Velvet Underground LPs, but those who did, started a band.
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When I went back to England after a year away, the country seemed stuck, dozing in a fairy tale, stifled by the weight of tradition.
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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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Whatever you now find weird, ugly, uncomfortable and nasty about a new medium will surely become its signature… The excitement of grainy film, of bleached-out black and white, is the excitement of witnessing events too momentous for the medium assigned to record them.
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It infuriates me that stuff from the Internet routinely doesn’t include all the credits. Because as soon as I listen to something, if I like it, I want to know, “Who’s the bass player?” “Who did that?” “Who’s the engineer on this?
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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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Emotion creates reality, reality demands action.
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I want to rethink surrender as an active verb.
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I’m not interested in possible complexities. I regard song structure as a graph paper.
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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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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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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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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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Think inside the work – outside the work
BRIAN ENO