We have two different ways of working. One is completely unstructured where somebody just starts playing and somebody joins in and then the other person joins in, and something starts to happen. That’s occasionally what happens.
BRIAN ENOThe basis of computer work is predicated on the idea that only the brain makes decisions and only the index finger does the work.
More Brian Eno Quotes
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Lyrics are the only thing to do with music that haven’t been made easier technically.
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People always focus on people like me who use synthesizers, right, which are explicitly electronic and therefore obvious.
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I hate talking about music, to tell you the truth.
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What happens with notation is that it reduces things to a language which isn’t necessarily appropriate to them. In the same way that words do, you get a much cruder version of what was actually intended.
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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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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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American television really is pathetic.
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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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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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The biology of purpose keeps my nose above the surface.
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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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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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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.
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I don’t live in the past at all; I’m always wanting to do something new. I make a point of constantly trying to forget and get things out of my mind.
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I’ve got a feeling that music might not be the most interesting place to be in the world of things.
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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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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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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 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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Being completely free to choose what to do is actually quite difficult
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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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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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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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The problem with computers is that there is not enough Africa in them.
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It’s easy to forget that your best work is done when your attention is fully engaged.
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People who are very confident in themselves aren’t hurt by criticism. They make use of it.
BRIAN ENO