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.
BRIAN ENOEditing is now the easiest thing on earth to do, and all the things that evolved out of word processing – ‘Oh, let’s put that sentence there, let’s get rid of this’ – have become commonplace in films and music too.
More Brian Eno Quotes
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As struggles go, being an artist isn’t that much of one.
BRIAN ENO -
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.
BRIAN ENO -
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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Try to make things that can become better in other people’s minds than they were in yours.
BRIAN ENO -
I hate talking about music, to tell you the truth.
BRIAN ENO -
Anything popular is populist, and populist is rarely a good adjective.
BRIAN ENO -
For me it’s always contingent on getting a sound-the sound always suggests what kind of melody it should be. So it’s always sound first and then the line afterwards.
BRIAN ENO -
Stop thinking about art works as objects, and start thinking about them as triggers for experiences.
BRIAN ENO -
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.
BRIAN ENO -
I wanted to use the studio like a microscope for sound, which is what good engineers do.
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.
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Once I started working with generative music in the 1970s, I was flirting with ideas of making a kind of endless music – not like a record that you’d put on, which would play for a while and finish.
BRIAN ENO -
Sometimes 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.
BRIAN ENO -
Cultural objects have no notable identity outside of that which we confer upon them. Their value is entirely a product of the interaction that we have with them.
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Because if someone does that, you can find your own position in relation to it: what is it that I don’t agree with? In the studio I want to articulate a position clearly enough so that other people can use it – or chuck it away if they don’t want it.
BRIAN ENO







