I’ve noticed a terrible thing, which is I will agree to anything if it’s far enough in the future.
BRIAN ENOThere 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.
More Brian Eno Quotes
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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.
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I felt extremely uncomfortable as the focal point, in the spotlight. I really like the behind the scenes role, because all my freedom is there.
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The muscles are there simply to serve the head. But that isn’t how traditional players work at all; musicians know that their muscles have a lot of stuff going on as well. They’re using their whole body to make music, in fact.
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The Marshall guitar amplifier doesn’t just get louder when you turn it up. It distorts the sound to produce a whole range of new harmonics, effectively turning a plucked string instrument into a bowed one.
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But now you see the results of that in people who are completely crippled unless they know that they have the possibility of “cut and paste” and “undo.” And “undo” and “undo” and “undo” and “undo” and “undo” again.
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Given the chance, i’ll die like a baby, on some faraway beach, when the season’s over.
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As soon as you externalize an idea you see facets of it that weren’t clear when it was just floating around in your head.
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Most game music is based on loops effectively.
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The idea that something is uncool because it’s old or foreign has left the collective consciousness.
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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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If something is good, you must torture it mercilessly until it is either dead or great.
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Music in itself carries a whole set of messages which are very, very rich and complex, and the words either serve to exclude certain ones or point up certain others.
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If I had a stock of fabulous sounds I would just always use them. I wouldn’t bother to find new ones.
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The whole history of pop music had rested on the first person singular, with occasional intrusions of the second person singular.
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It’s nice, I think, when people use your music for things you didn’t think of.
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For instance, I’m always fascinated to see whether, given the kind of fairly known and established form called popular music, whether there is some magic combination that nobody has hit upon before.
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I think the idea that people walk around to music is very interesting. They are actually creating the soundtrack to their lives as they walk around to it.
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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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A part of me has become immortal, out of my control.
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With all fashion, what we do is play at being somebody else. We play at inhabiting another kind of world.
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I don’t like headphones very much, and I rarely listen to music on headphones.
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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.
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Everything good proceeds from enthusiasm.
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I prefer to shoot the arrow, then paint the target around it. You make the niches in which you finally reside.
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One of the things you’re doing when you make art, apart from entertaining yourself and other people, is trying to see what ways of working feel good, what feels right.
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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.
BRIAN ENO