Once you’ve grown to accept something and it becomes part of the system you’ve inherited, you don’t even notice it any longer.
BRIAN ENOBeing completely free to choose what to do is actually quite difficult
More Brian Eno Quotes
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I believe it builds character and, more than anything else, encourages a taste for co-operation with others. This seems to be about the most important thing a school could do for you.
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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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When I was working with Talking Heads what would happen typically is that they would go out and start playing a track, and I would always run the tape.
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I wanted to get rid of the element that had been considered essential in pop music: the voice.
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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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I’m fascinated by musicians who don’t completely understand their territory; that’s when you do your best work.
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I’ve noticed a terrible thing, which is I will agree to anything if it’s far enough in the future.
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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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Feelings are more dangerous than ideas, because they aren’t susceptible to rational evaluation. They grow quietly, spreading underground, and erupt suddenly, all over the place.
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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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I see TV as a picture medium rather than a narrative medium.
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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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I hate talking about music, to tell you the truth.
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If something is good, you must torture it mercilessly until it is either dead or great.
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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