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I love the sort of ambivalence of this, the ambiguity of something – being, for instance, in a quite busy Mexican restaurant with one of these very gentle tracks playing I remember as being particularly nice.

Brian Eno

The most important thing in a piece of music is to seduce people to the point where they start searching.
BRIAN ENO

Important People Pieces Searching
Every collaboration helps you grow.
BRIAN ENO

Collaboration Grows Helping
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.
BRIAN ENO

Function Trouble Views
The time I like listening to music most on headphones is, I have a game I play with my brother, he’s a musician as well.And he sends me MIDI files of keyboard pieces. So, these are pieces where I just get a MIDI file.
BRIAN ENO

Brother Favorite Game Hobby
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

Fine Thinking Titles
When I went back to England after a year away, the country seemed stuck, dozing in a fairy tale, stifled by the weight of tradition.
BRIAN ENO

Country Weight Years
Once I started working with generative music in the 1970s, I was flirting with ideas of making a kind of endless music – not like a record that you’d put on, which would play for a while and finish.
BRIAN ENO

Flirting Ideas Play
It infuriates me that stuff from the Internet routinely doesn’t include all the credits. Because as soon as I listen to something, if I like it, I want to know, “Who’s the bass player?” “Who did that?” “Who’s the engineer on this?
BRIAN ENO

Bass Credit Engineer Player
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

Identity InterAction Notable
All cultures have these feelings about non-functional areas of activity. And the more time people have on their hands, the more they commit it to those areas.
BRIAN ENO

Feelings Hands People
When I was young, an eccentric uncle decided to teach me how to lie. Not, he explained, because he wanted me to lie, but because he thought I should know how it’s done so I would recognise when I was being lied to.
BRIAN ENO

Decide Done Lying Teach Uncles
We’re going through this super-uptight era, which I think comes entirely from literacy, actually. It’s the result of machines that were designed as word processors being used for making music.
BRIAN ENO

Designed Machines Thinking Uptight
Saying that cultural objects have value is like saying that telephones have conversations.
BRIAN ENO

Conversation Object Telephone
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 ENO

Earth Editing Film Sentence
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

Differences Musician Playing Thinking Watching
Set up a situation that presents you with something slightly beyond your reach.
BRIAN ENO

Beyond Reach Situation

I love the sort of ambivalence of this, the ambiguity of something – being, for instance, in a quite busy Mexican restaurant with one of these very gentle tracks playing I remember as being particularly nice.

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I love the sort of ambivalence of this, the ambiguity of something – being, for instance, in a quite busy Mexican restaurant with one of these very gentle tracks playing I remember as being particularly nice.

Related Topics

Popular Authors

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