Stop thinking about art works as objects, and start thinking about them as triggers for experiences.
BRIAN ENOLet’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.
More Brian Eno Quotes
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Most game music is based on loops effectively.
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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’m fascinated by musicians who don’t completely understand their territory; that’s when you do your best work.
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I’m struck by the insidious, computer-driven tendency to take things out of the domain of muscular activity and put them into the domain of mental activity.
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When I was young, an eccentric uncle decided to teach me how to lie. Not, he explained, because he wanted me to lie, but because he thought I should know how it’s done so I would recognise when I was being lied to.
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Perhaps when music has been shouting for so long, a quieter voice seems attractive.
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It’s amazing how quickly people get used to bad quality.
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Cultural objects have no notable identity outside of that which we confer upon them. Their value is entirely a product of the interaction that we have with them.
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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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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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At the beginning of the 20th century, the ambition of the great painters was to make paintings that were like music, which was then considered as the noblest art.
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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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The idea that something is uncool because it’s old or foreign has left the collective consciousness.
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I wanted to use the studio like a microscope for sound, which is what good engineers do.
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People who are very confident in themselves aren’t hurt by criticism. They make use of it.
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Culture is everything you don’t have to do.
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The prospect of music being detachable from time and place meant that one could start to think of music as a part of one’s furniture.
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We’re going through this super-uptight era, which I think comes entirely from literacy, actually. It’s the result of machines that were designed as word processors being used for making music.
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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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The tools are evolving, and people’s interests are evolving as well. So, suddenly people like to hear bands, people like Devendra Banhart or the xx, bands that make a kind of virtue of sloppiness.
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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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In fact, quite a lot of what I do has to do with sound texture, and, you can’t notate that. You can’t notate the sound of “St. Elmo’s Fire.” There’s no way of writing that down. That’s because musical notation arose at a time when sound textures were limited.
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I think we’re about ready for a new feeling to enter music. I think that will come from the Arabic world.
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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 do sometimes look back at things I’ve written in the past, and think, ‘I just don’t remember being the person who wrote that.’
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I don’t like celebrity programmes – but I do like programmes about how ideas are formed and evolve.
BRIAN ENO