I hate talking about music, to tell you the truth.
BRIAN ENOThe handbook always tells you what it does, and you can be quite sure that if it’s a complex device it can do at least fifteen other things that weren’t predicted in the handbook, or that they didn’t consider desirable. It’s normally those other things that interest me.
More Brian Eno Quotes
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Everything good proceeds from enthusiasm.
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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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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.
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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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The artists of the past who impressed me were the ones who really focused their work.
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One often makes music to supplement one’s world.
BRIAN ENO -
Stop thinking about art works as objects, and start thinking about them as triggers for experiences.
BRIAN ENO -
I think we’re about ready for a new feeling to enter music. I think that will come from the Arabic world.
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Admirers can be a tremendous force for conservatism.
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Composition is a way of living out your philosophy and calling it art.
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 -
In terms of what has been happening recently, there have been, I think, some really interesting new instruments that have come out that sort of show me the direction of the future. Korg has introduced the – they’ve had a whole series now of these things called Kaoss Pads.
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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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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.
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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