The seven white notes on the piano – each section of the piece (there are 12 sections) is five of those seven white notes.
BRIAN ENOIt’s easy to forget that your best work is done when your attention is fully engaged.
More Brian Eno Quotes
-
-
What happens with notation is that it reduces things to a language which isn’t necessarily appropriate to them. In the same way that words do, you get a much cruder version of what was actually intended.
BRIAN ENO -
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.
BRIAN ENO -
I wanted to get rid of the element that had been considered essential in pop music: the voice.
BRIAN ENO -
I believe that singing is the key to long life, a good figure, a stable temperament, increased intelligence, new friends, super self-confidence , heightened sexual attractiveness, and a better sense of humor.
BRIAN ENO -
I suppose I am reluctant about being any sort of ‘star’ and I didn’t particularly want to be portrayed as one.
BRIAN ENO -
Think inside the work – outside the work
BRIAN ENO -
I belong to a gospel choir. They know I am an atheist but they are very tolerant.
BRIAN ENO -
The vinyl commands a certain kind of reverence because it’s a big object and quite fragile so you handle it rather carefully, and it’s expensive so you pay attention to how it’s looked after.
BRIAN ENO -
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.
BRIAN ENO -
Not many people bought Velvet Underground LPs, but those who did, started a band.
BRIAN ENO -
The prospect of music being detachable from time and place meant that one could start to think of music as a part of one’s furniture.
BRIAN ENO -
What I would really like to do, if I could have a sort of kingship for a short time and organize the group of my dreams.
BRIAN ENO -
One often makes music to supplement one’s world.
BRIAN ENO -
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.
BRIAN ENO -
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 -
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.
BRIAN ENO -
A responsible designer might try to overcome this limitation – probably the engineers at Marshall tried, too. But that sound became the sound of, among others, Jimi Hendrix. That sound is called electric guitar.
BRIAN ENO -
I hate the thought that someone had picked up one of my song records and was really excited about it, and walks [out of] a record shop with On Land and is disappointed because it isn’t what they wanted.
BRIAN ENO -
I do sometimes look back at things I’ve written in the past, and think, ‘I just don’t remember being the person who wrote that.’
BRIAN ENO -
Perhaps when music has been shouting for so long, a quieter voice seems attractive.
BRIAN ENO -
The biology of purpose keeps my nose above the surface.
BRIAN ENO -
It’s actually very easy for democracy to disappear.
BRIAN ENO -
With all fashion, what we do is play at being somebody else. We play at inhabiting another kind of world.
BRIAN ENO -
Ambient Music must be able to accommodate many levels of listening attention without enforcing one in particular; it must be as ignorable as it is interesting.
BRIAN ENO -
Sometimes they’re of my own creation, as well – and they’re just as annoying. It’s not only other people’s ear worms that bug me, it’s my own, as well.
BRIAN ENO -
I think the other thing that’s important is getting to a place, which very, very rarely happens with improvising groups, where somebody can decide not to play for a while. You watch any group of musicians improvising together and they nearly all play nearly all the time.
BRIAN ENO