Brian Eno Quotes
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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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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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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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Being completely free to choose what to do is actually quite difficult.
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When I first started making ambient music, I was setting up systems using synthesizers that generated pulses more or less randomly. The end result is a kind of music that continuously changes. Of course, until computers came along, all I could actually present of that work was a piece of its output.
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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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I don't like headphones very much, and I rarely listen to music on headphones.
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The earliest paintings I loved were always the most non-referential paintings you can imagine, by painters such as Mondrian. I was thrilled by them because they didn't refer to anything else. They stood alone, and they were just charged magic objects that did not get their strength from being connected to anything else.
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Painting, I think it's like jazz.
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When you build a building, you finish a building. You don't finish a garden; you start it, and then it carries on with its life. So my analogy was really to say that we composers or some of us should think of ourselves as people who start processes rather than finish them. And there might be surprises.
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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 think one of my pursuits over the years is trying to answer the question of, 'What else can you do with a voice other than stand in front of a microphone and sing?'
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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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A part of me has become immortal, out of my control.
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I don't want to do free jazz! Because free jazz - which is the musical equivalent of free marketeering - isn't actually free at all. It's just constrained by what your muscles can do.
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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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I want to rethink 'surrender' as an active verb.
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Perhaps when music has been shouting for so long, a quieter voice seems attractive.
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I've discovered this new electronic technique that creates new speech out of stuff that's already there.
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As struggles go, being an artist isn't that much of one.
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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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Instruments sound interesting, not because of their sound, but because of the relationship a player has with them. Instrumentalists build a rapport with their instruments, which is what you like and respond to.
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If you grow up in a very strong religion like Catholicism you certainly cultivate in yourself a certain taste for the intensity of ideas.
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I'm always interested in what you can do with technology that people haven't thought of doing yet.