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 ENOOnce 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.
More Brian Eno Quotes
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I wanted quite the opposite of that. I wanted them to accent their styles, so that they pulled away.
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Emotion creates reality, reality demands action.
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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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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.
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I can see the use and value of religion, just as I can see the use of mud wrestling, yoga, astronomy and sadomasochism. but I reject the idea that you can’t be a deep human being without it or any of them.
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I thought it was magic to be able to catch something identically on tape and then be able to play around with it, run it backwards; I thought that was great for years.
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I despise computers in many ways. I think they’re hopelessly underevolved and overrated.
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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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The problem with computers is that there is not enough Africa in them.
BRIAN ENO -
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 -
Avant-garde music is sort of research music. You’re glad someone’s done it but you don’t necessarily want to listen to it.
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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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For the world to be interesting, you have to be manipulating it all the time.
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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.
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I’m not interested in possible complexities. I regard song structure as a graph paper.
BRIAN ENO