For the world to be interesting, you have to be manipulating it all the time.
BRIAN ENOI’ve noticed a terrible thing, which is I will agree to anything if it’s far enough in the future.
More Brian Eno Quotes
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Editing 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.
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The muscles are there simply to serve the head. But that isn’t how traditional players work at all; musicians know that their muscles have a lot of stuff going on as well. They’re using their whole body to make music, in fact.
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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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In the 1960s, people were trying to get away from the pop song format. Tracks were getting longer, or much, much shorter.
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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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Culture is everything you don’t have to do.
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I don’t like headphones very much, and I rarely listen to music on headphones.
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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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I belong to a gospel choir. They know I am an atheist but they are very tolerant.
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Given the chance, i’ll die like a baby, on some faraway beach, when the season’s over.
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I often work by avoidance.
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I prefer to shoot the arrow, then paint the target around it. You make the niches in which you finally reside.
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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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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.
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Something I’ve realized lately, to my shock, is that I am an optimist, in that I think humans are almost infinitely capable of self-change and self-modification, and that we really can build the future that we want if we’re smart about it.
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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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We have two different ways of working. One is completely unstructured where somebody just starts playing and somebody joins in and then the other person joins in, and something starts to happen. That’s occasionally what happens.
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With all fashion, what we do is play at being somebody else. We play at inhabiting another kind of world.
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Be the first to not do what nobody has ever thought of not doing before.
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I’m not interested in possible complexities. I regard song structure as a graph paper.
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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.
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I don’t live in the past at all; I’m always wanting to do something new. I make a point of constantly trying to forget and get things out of my mind.
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The reason I don’t tour is that I don’t know how to front a band. What would I do? I can’t really play anything well enough to deal with that situation.
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I love San Francisco and Brighton has something of San Francisco about it. It’s by the sea, there’s a big gay community, a feeling of people being there because they enjoy their life there.
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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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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 ENO