All cultures have these feelings about non-functional areas of activity. And the more time people have on their hands, the more they commit it to those areas.
BRIAN ENOIn my normal life I’m a very unadventurous person.
More Brian Eno Quotes
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In my normal life I’m a very unadventurous person.
BRIAN ENO -
I believe in singing.
BRIAN ENO -
When I’ve finally got the title, I think, “Okay, yes, now I know where we are. Now I know what it is. Fine, that must be finished or nearly finished.
BRIAN ENO -
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.
BRIAN ENO -
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.
BRIAN ENO -
I believe that singing is the key to long life, a good figure, a stable temperament, increased intelligence, new friends, super self-confidence , heightened sexual attractiveness, and a better sense of humor.
BRIAN ENO -
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.
BRIAN ENO -
When people censor themselves they’re just as likely to get rid of the good bits as the bad bits.
BRIAN ENO -
The time I like listening to music most on headphones is, I have a game I play with my brother, he’s a musician as well.And he sends me MIDI files of keyboard pieces. So, these are pieces where I just get a MIDI file.
BRIAN ENO -
I’ve got a feeling that music might not be the most interesting place to be in the world of things.
BRIAN ENO -
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.
BRIAN ENO -
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.
BRIAN ENO -
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.
BRIAN ENO -
I think the other thing that’s important is getting to a place, which very, very rarely happens with improvising groups, where somebody can decide not to play for a while. You watch any group of musicians improvising together and they nearly all play nearly all the time.
BRIAN ENO -
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.
BRIAN ENO