Brian Eno Quotes
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I believe that singing is the key to long life, a good figure, a stable temperament, increased intelligence, new friends, super self-confidence, heightened sexual attractiveness, and a better sense of humor.
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Musicians are there in front of you, and the spectators sense their tension, which is not the case when you're listening to a record. Your attention is more relaxed. The emotional aspect is more important in live music.
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I trust my taste. I trust it completely and I always have done, and I've always thought it isn't that different from everybody else's.
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Most of those melodies are me trying to find out what notes fit, and then hitting ones that don't fit in a very interesting way.
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There is a sort of convergence starting to happen between the computer and musical instruments, but it's still quite a long way off.
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Instead of shooting arrows at someone elses target, which Ive never been very good at, I make my own target around wherever my arrow happens to have landed. You shoot your arrow and then you paint your bulls eye around it, and therefore you have hit the target dead centre.
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With devices my technique is always to hide the handbook in the drawer until I've played with it for a while. 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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In art, you CAN crash your plane and walk away from it.
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The problem with improvisation is, of course, that everyone just slips into their comfort zone and does sort of the easy thing to do, the most obvious thing to do with your instrument.
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I want to rethink 'surrender' as an active verb.
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Although designers continue to dream of 'transparency' - technologies that just do their job without making their presence felt - both creators and audiences actually like technologies with 'personality.'
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Once music ceases to be ephemeral - always disappearing - and becomes instead material... it leaves the condition of traditional music and enters the condition of painting. It becomes a painting, existing as material in space, not immaterial in time.
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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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If you're in a forest, the quality of the echo is very strange because echoes back off so many surfaces of all those trees that you get this strange, itchy ricochet effect.
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Software options proliferate extremely easily - too easily, in fact - because too many options create tools that can't ever be used intuitively. Intuitive actions confine the detail work to a dedicated part of the brain, leaving the rest of one's mind free to respond with attention and sensitivity to the changing texture of the moment.
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I have these headphones, which pretty much exclude everything else so that you can really completely control the sound that you're hearing. I don't use them very much, I have to say. I very rarely listen on headphones.
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I think that's very significant that we're so attached to the idea now of - it was something I advocated for years, that you can make music in studios, music doesn't have to be made as a real-time experience. 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 point about melody and beat and lyric is that they exist to engage you in a very particular way. They want to occupy your attention.
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I cant duplicate my own successes, because part of the creation of that effect is making something happen that you didn't expect.
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As soon as you externalize an idea you see facets of it that weren't clear when it was just floating around in your head.
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I remember when in the early days of rock'n'roll, when everything sounded totally different, all amazing and blah blah blah blah blah. Now you can play me one second of any record from that time, and I'll say "1959" or "1961." I can hear precisely. It's like it has a huge date stamp on it.
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I love the sort of ambivalence of this, the ambiguity of something - being, for instance, in a quite busy Mexican restaurant with one of these very gentle tracks playing I remember as being particularly nice.
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A part of me has become immortal, out of my control.
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With all fashion, what we do is play at being somebody else. We play at inhabiting another kind of world.