Think inside the work – outside the work
BRIAN ENOI believe it builds character and, more than anything else, encourages a taste for co-operation with others. This seems to be about the most important thing a school could do for you.
More Brian Eno Quotes
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My guitar only has five strings ’cause the top one broke and I decided not to put it back on: when I play chords I only play bar chords, and the top one always used to cut me there.
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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’ve got a feeling that music might not be the most interesting place to be in the world of things.
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Let’s do something else.”And you always think “Oh my God I’ve never done anything at all like that before.” But, of course, in retrospect, and to an outsider, they’ll say, “Oh, yeah that’s typical Eno.
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Everything good proceeds from enthusiasm.
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American television really is pathetic.
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The vinyl commands a certain kind of reverence because it’s a big object and quite fragile so you handle it rather carefully, and it’s expensive so you pay attention to how it’s looked after.
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Painting, I think it’s like jazz.
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There’s a kind of edge to what you’re doing, the kind of leading edge of what you’re doing. Inside that edge [are elements you] are familiar with, and are probably becoming slightly bored with, as well, over a period of time. “I’ve pulled that one out before. Oh, no, I can’t I’m just fed up with that.
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I think that there’s something that I still like about the fact of a package, like the latest report from somebody. “Okay, this is what they’re up to now; this is what they’re doing; who’s working with them?
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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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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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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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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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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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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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With all fashion, what we do is play at being somebody else. We play at inhabiting another kind of world.
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I often work by avoidance.
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Ambient music is intended to induce calm and a space to think.
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I despise computers in many ways. I think they’re hopelessly underevolved and overrated.
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Feelings are more dangerous than ideas, because they aren’t susceptible to rational evaluation. They grow quietly, spreading underground, and erupt suddenly, all over the place.
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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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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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I thought it was magic to be able to catch something identically on tape and then be able to play around with it, run it backwards; I thought that was great for years.
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In terms of what has been happening recently, there have been, I think, some really interesting new instruments that have come out that sort of show me the direction of the future. Korg has introduced the – they’ve had a whole series now of these things called Kaoss Pads.
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Perhaps when music has been shouting for so long, a quieter voice seems attractive.
BRIAN ENO