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.
BRIAN ENOI 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.
More Brian Eno Quotes
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I see TV as a picture medium rather than a narrative medium.
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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 think very often producers are really trying to repeat things. When they hear something in the new songs that they recognize as being a bit like something that was a success on a previous record, they’re inclined to encourage that.
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Most of those melodies are me trying to find out what notes fit, and then hitting ones that don’t fit in a very interesting way.
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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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In my normal life I’m a very unadventurous person.
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Let’s do something else.”And you always think “Oh my God I’ve never done anything at all like that before.” But, of course, in retrospect, and to an outsider, they’ll say, “Oh, yeah that’s typical Eno.
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In terms of what has been happening recently, there have been, I think, some really interesting new instruments that have come out that sort of show me the direction of the future. Korg has introduced the – they’ve had a whole series now of these things called Kaoss Pads.
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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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A responsible designer might try to overcome this limitation – probably the engineers at Marshall tried, too. But that sound became the sound of, among others, Jimi Hendrix. That sound is called electric guitar.
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One often makes music to supplement one’s world.
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The texture suggests some kind of mood, and the mood suggests some kind of lyric. That’s like working in reverse, often quite the other way around, from sound to song. Although often they stop before they get to the song stage.
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Because if someone does that, you can find your own position in relation to it: what is it that I don’t agree with? In the studio I want to articulate a position clearly enough so that other people can use it – or chuck it away if they don’t want it.
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I belong to a gospel choir. They know I am an atheist but they are very tolerant.
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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.
BRIAN ENO