Perhaps when music has been shouting for so long, a quieter voice seems attractive.
BRIAN ENOAll the best lyrics are written in ten minutes.
More Brian Eno Quotes
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I hate the rock music tradition. I can’t bear it!
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The reason I don’t tour is that I don’t know how to front a band. What would I do? I can’t really play anything well enough to deal with that situation.
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I think that there’s something that I still like about the fact of a package, like the latest report from somebody. “Okay, this is what they’re up to now; this is what they’re doing; who’s working with them?
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Look closely at the most embarrassing details, and amplify them.
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Something I’ve realized lately, to my shock, is that I am an optimist, in that I think humans are almost infinitely capable of self-change and self-modification, and that we really can build the future that we want if we’re smart about it.
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One of the great breakthroughs of evolution theory is that you start with simple things and they will grow into complexity.
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For the world to be interesting, you have to be manipulating it all the time.
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Be the first to not do what nobody has ever thought of not doing before.
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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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The biology of purpose keeps my nose above the surface.
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Editing is now the easiest thing on earth to do, and all the things that evolved out of word processing – ‘Oh, let’s put that sentence there, let’s get rid of this’ – have become commonplace in films and music too.
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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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I see TV as a picture medium rather than a narrative medium.
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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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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.
BRIAN ENO