There are hundreds of manufacturers always producing dvices that in general do the same things. Since they have slight structural differences if you take one and fool around with it and give it a good kick it will actually do something that it wasn’t designed to do.
BRIAN ENOI always use the same guitar; I got this guitar years and years ago for nine pounds. It’s still got the same strings on it.
More Brian Eno Quotes
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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.
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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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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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People in the arts often want to aim for the biggest, most obvious target, and hit it smack in the bull’s eye.
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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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I got interested in the idea of music that could make itself, in a sense, in the mid 1960s really, when I first heard composers like Terry Riley, and when I first started playing with tape recorders.
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I had a lot of trouble with engineers, because their whole background is learning from a functional point of view, and then learning how to perform that function.
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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.
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The great benefit of computer sequencers is that they remove the issue of skill, and replace it with the issue of judgement
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I hate the way CDs just drone on for bloody hours and you stop caring.
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One of the great breakthroughs of evolution theory is that you start with simple things and they will grow into complexity.
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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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Think inside the work – outside the work
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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