When you look back on a historical period of music, it seems so obvious to you what the characteristics of it are, but they’re not obvious at the time. So, when I look back at my own work.
BRIAN ENOSet up a situation that presents you with something slightly beyond your reach.
More Brian Eno Quotes
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Think inside the work – outside the work
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I 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.
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I hate talking about music, to tell you the truth.
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The most important thing in a piece of music is to seduce people to the point where they start searching.
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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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Of course, like anybody I repeat myself endlessly, but I don’t know that I’m doing it, usually.
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The idea that something is uncool because it’s old or foreign has left the collective consciousness.
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You either believe that people respond to authority, or that they respond to kindness and inclusion. I’m obviously in the latter camp. I think that people respond better to reward than punishment.
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Law is always better than war.
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As soon as you externalize an idea you see facets of it that weren’t clear when it was just floating around in your head.
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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’m not interested in possible complexities. I regard song structure as a graph paper.
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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.
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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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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