I belong to a gospel choir. They know I am an atheist but they are very tolerant.
BRIAN ENOI’m very good with technology, I always have been, and with machines in general. They seem not threatening like other people find them, but a source of fun and amusement.
More Brian Eno Quotes
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I felt extremely uncomfortable as the focal point, in the spotlight. I really like the behind the scenes role, because all my freedom is there.
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One of the interesting things about having little musical knowledge is that you generate surprising results sometimes; you move to places you wouldn’t if you knew better.
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Human development thus far has been fueled and guided by the feeling that things could be, and are probably going to be, better.
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I hate the way CDs just drone on for bloody hours and you stop caring.
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Emotion creates reality, reality demands action.
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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.
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Ambient music is intended to induce calm and a space to think.
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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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Make an exhaustive list of everything you might do & do the last thing on the list.
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Every increase in your knowledge is a simultaneous decrease. You learn and you unlearn at the same time. A new certainty is a new doubt as well.
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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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I 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.
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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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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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In fact, quite a lot of what I do has to do with sound texture, and, you can’t notate that. You can’t notate the sound of “St. Elmo’s Fire.” There’s no way of writing that down. That’s because musical notation arose at a time when sound textures were limited.
BRIAN ENO