So, I try to make signs, graphically and visually, to say to people “Okay, this is this department of my work and this is this other department of my work.” And of course I’m very pleased if people like all of them, but I don’t want them to feel deceived at any point.
BRIAN ENOMake an exhaustive list of everything you might do & do the last thing on the list.
More Brian Eno Quotes
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People do dismiss ambient music, don’t they? They call it ‘easy listening,’ as if to suggest that it should be hard to listen to.
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Sometimes you recognize that there is a category of human experience that has not been identified but everyone knows about it. That is when I find a term to describe it.
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I always use the same guitar; I got this guitar years and years ago for nine pounds. It’s still got the same strings on it.
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I hate talking about music, to tell you the truth.
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The 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.
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My guitar only has five strings ’cause the top one broke and I decided not to put it back on: when I play chords I only play bar chords, and the top one always used to cut me there.
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I want to rethink surrender as an active verb.
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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 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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You don’t have to act as if you know what you’re doing
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When people censor themselves they’re just as likely to get rid of the good bits as the bad bits.
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One often makes music to supplement one’s world.
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Robert Fripp and I will be recording another LP very soon. It should be even more monotonous than the first one!
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Every collaboration helps you grow.
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When I work there are two distinct phases: the phase of pushing the work along, getting something to happen, where all the input comes from me, and phase two, where things start to combine in a way that wasn’t expected or predicted by what I supplied.
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Once you’ve grown to accept something and it becomes part of the system you’ve inherited, you don’t even notice it any longer.
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Quite often, and in fact more often, I would say, I’m struggling all the way through to think, “What is it I like about this? What is the personality of this thing I’m hearing that I like so much?”
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Well, there are some things that I just can’t get out of my head, and they start to annoy me after a while.
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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.
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Being completely free to choose what to do is actually quite difficult
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Put out as much as you can. It doesn’t do anything sitting on a shelf.
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Make an exhaustive list of everything you might do & do the last thing on the list.
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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 often work by avoidance.
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One of the interesting things about having little musical knowledge is that you generate surprising results sometimes; you move to places you wouldn’t if you knew better.
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People always focus on people like me who use synthesizers, right, which are explicitly electronic and therefore obvious.
BRIAN ENO