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.
BRIAN ENOOf course with everybody else aiming there as well that makes it very hard and expensive to hit. I prefer to shoot the arrow, then paint the target around it. You make the niches in which you finally reside.
More Brian Eno Quotes
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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 -
If you think of the way a composer or say a pop arranger works – he has an idea and he writes it down, so there’s one transmission loss. Then he gives the score to a group of musicians who interpret that, so there’s another transmission loss.
BRIAN ENO -
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.
BRIAN ENO -
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.
BRIAN ENO -
I think that there’s something that I still like about the fact of a package, like the latest report from somebody. “Okay, this is what they’re up to now; this is what they’re doing; who’s working with them?
BRIAN ENO -
What matters in modern music is not the part you can write down, the words and the tune, but the rest – the texture, the atmosphere, the references and associations.
BRIAN ENO -
Lyrics are the only thing to do with music that haven’t been made easier technically.
BRIAN ENO -
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 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 -
I’ve always thought that art is a lie, an interesting lie. And I’ll sort of listen to the “lie” and try to imagine the world which makes that lie true…what that world must be like, and what would have to happen for us to get from this world to that one.
BRIAN ENO -
So, that means you can only play either very high or very low or both. And we’re going to stay there until I take my finger down.
BRIAN ENO -
Everything good proceeds from enthusiasm.
BRIAN ENO -
For instance, I’m always fascinated to see whether, given the kind of fairly known and established form called popular music, whether there is some magic combination that nobody has hit upon before.
BRIAN ENO -
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.
BRIAN ENO -
I hate talking about music, to tell you the truth.
BRIAN ENO -
The great benefit of computer sequencers is that they remove the issue of skill, and replace it with the issue of judgement
BRIAN ENO -
I’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.
BRIAN ENO -
I don’t like celebrity programmes – but I do like programmes about how ideas are formed and evolve.
BRIAN ENO -
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.
BRIAN ENO -
I’m struck by the insidious, computer-driven tendency to take things out of the domain of muscular activity and put them into the domain of mental activity.
BRIAN ENO -
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.
BRIAN ENO -
Whatever you now find weird, ugly, uncomfortable and nasty about a new medium will surely become its signature… The excitement of grainy film, of bleached-out black and white, is the excitement of witnessing events too momentous for the medium assigned to record them.
BRIAN ENO -
So, I try to make signs, graphically and visually, to say to people “Okay, this is this department of my work and this is this other department of my work.” And of course I’m very pleased if people like all of them, but I don’t want them to feel deceived at any point.
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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.
BRIAN ENO -
Try to make things that can become better in other people’s minds than they were in yours.
BRIAN ENO -
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.
BRIAN ENO