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 ENOYou don’t have to act as if you know what you’re doing
More Brian Eno Quotes
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There’s a kind of edge to what you’re doing, the kind of leading edge of what you’re doing. Inside that edge [are elements you] are familiar with, and are probably becoming slightly bored with, as well, over a period of time. “I’ve pulled that one out before. Oh, no, I can’t I’m just fed up with that.
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Try to make things that can become better in other people’s minds than they were in yours.
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I wanted to use the studio like a microscope for sound, which is what good engineers do.
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The problem with computers is that there is not enough Africa in them.
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The seven white notes on the piano – each section of the piece (there are 12 sections) is five of those seven white notes.
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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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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.
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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.
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People always focus on people like me who use synthesizers, right, which are explicitly electronic and therefore obvious.
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In my normal life I’m a very unadventurous person.
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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 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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I still do mostly listen to CDs. I think that every format really is a different way of listening. If you take a different sort of psychological stance to it – like, I think the transition from vinyl to CD definitely marked a difference in the way people treated music.
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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.
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Most game music is based on loops effectively.
BRIAN ENO