For instance, I’m always fascinated to see whether, given the kind of fairly known and established form called popular music, whether there is some magic combination that nobody has hit upon before.
BRIAN ENOWe’re going through this super-uptight era, which I think comes entirely from literacy, actually. It’s the result of machines that were designed as word processors being used for making music.
More Brian Eno Quotes
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The tools are evolving, and people’s interests are evolving as well. So, suddenly people like to hear bands, people like Devendra Banhart or the xx, bands that make a kind of virtue of sloppiness.
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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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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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Be the first to not do what nobody has ever thought of not doing before.
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I think the idea that people walk around to music is very interesting. They are actually creating the soundtrack to their lives as they walk around to it.
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Think inside the work – outside the work
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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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Set up a situation that presents you with something slightly beyond your reach.
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A big ego isn’t necessarily a bad thing. A big ego means that you have some confidence in your abilities, really, and that you’re prepared to take the risk of trying them out.
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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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As struggles go, being an artist isn’t that much of one.
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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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Saying that cultural objects have value is like saying that telephones have conversations.
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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 hate the rock music tradition. I can’t bear it!
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I hate talking about music, to tell you the truth.
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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 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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The artists of the past who impressed me were the ones who really focused their work.
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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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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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Rationality is what we do to organize the world, to make it possible to predict. Art is the rehearsal for the inapplicability and failure of that process.
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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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I hate the way CDs just drone on for bloody hours and you stop caring.
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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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Stop thinking about art works as objects, and start thinking about them as triggers for experiences.
BRIAN ENO