Saying that cultural objects have value is like saying that telephones have conversations.
BRIAN ENOThe problem with computers is that there is not enough Africa in them.
More Brian Eno Quotes
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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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Emotion creates reality, reality demands action.
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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 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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When people censor themselves they’re just as likely to get rid of the good bits as the bad bits.
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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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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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All the best lyrics are written in ten minutes.
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Make an exhaustive list of everything you might do & do the last thing on the list.
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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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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.
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I don’t like celebrity programmes – but I do like programmes about how ideas are formed and evolve.
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Sometimes they’re of my own creation, as well – and they’re just as annoying. It’s not only other people’s ear worms that bug me, it’s my own, as well.
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Ambient Music must be able to accommodate many levels of listening attention without enforcing one in particular; it must be as ignorable as it is interesting.
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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.
BRIAN ENO