Saying that cultural objects have value is like saying that telephones have conversations.
BRIAN ENOI still do mostly listen to CDs. I think that every format really is a different way of listening. If you take a different sort of psychological stance to it – like, I think the transition from vinyl to CD definitely marked a difference in the way people treated music.
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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When people censor themselves they’re just as likely to get rid of the good bits as the bad bits.
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If I had a stock of fabulous sounds I would just always use them. I wouldn’t bother to find new ones.
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Lyrics are the only thing to do with music that haven’t been made easier technically.
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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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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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One of the interesting things about having little musical knowledge is that you generate surprising results sometimes; you move to places you wouldn’t if you knew better.
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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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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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I despise computers in many ways. I think they’re hopelessly underevolved and overrated.
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Emotion creates reality, reality demands action.
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I hate the way CDs just drone on for bloody hours and you stop caring.
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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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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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I wanted to get rid of the element that had been considered essential in pop music: the voice.
BRIAN ENO