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 ENOWell, there are some things that I just can’t get out of my head, and they start to annoy me after a while.
More Brian Eno Quotes
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I still do mostly listen to CDs. I think that every format really is a different way of listening. If you take a different sort of psychological stance to it – like, I think the transition from vinyl to CD definitely marked a difference in the way people treated music.
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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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I wanted to get rid of the element that had been considered essential in pop music: the voice.
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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.
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It’s actually very easy for democracy to disappear.
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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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The idea that something is uncool because it’s old or foreign has left the collective consciousness.
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When I was working with Talking Heads what would happen typically is that they would go out and start playing a track, and I would always run the tape.
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My lyrics are generated by various peculiar processes. Very random and similar to automatic writing.
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Saying that cultural objects have value is like saying that telephones have conversations.
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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.
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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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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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Set up a situation that presents you with something slightly beyond your reach.
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I had a lot of trouble with engineers, because their whole background is learning from a functional point of view, and then learning how to perform that function.
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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 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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Anything popular is populist, and populist is rarely a good adjective.
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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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For the world to be interesting, you have to be manipulating it all the time.
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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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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 love San Francisco and Brighton has something of San Francisco about it. It’s by the sea, there’s a big gay community, a feeling of people being there because they enjoy their life there.
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It’s amazing how quickly people get used to bad quality.
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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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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.
BRIAN ENO