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 ENOI hate the thought that someone had picked up one of my song records and was really excited about it, and walks [out of] a record shop with On Land and is disappointed because it isn’t what they wanted.
More Brian Eno Quotes
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The problem with computers is that there is not enough Africa in them.
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There are hundreds of manufacturers always producing dvices that in general do the same things. Since they have slight structural differences if you take one and fool around with it and give it a good kick it will actually do something that it wasn’t designed to do.
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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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A big ego isn’t necessarily a bad thing. A big ego means that you have some confidence in your abilities, really, and that you’re prepared to take the risk of trying them out.
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 -
Lyrics are always misleading because they make people think that that’s what the music is about.
BRIAN ENO -
When people censor themselves they’re just as likely to get rid of the good bits as the bad bits.
BRIAN ENO -
I think we’re about ready for a new feeling to enter music. I think that will come from the Arabic world.
BRIAN ENO -
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.
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I want to rethink surrender as an active verb.
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.
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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.
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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.
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Of course, like anybody I repeat myself endlessly, but I don’t know that I’m doing it, usually.
BRIAN ENO -
The whole history of pop music had rested on the first person singular, with occasional intrusions of the second person singular.
BRIAN ENO