Brian Eno Quotes
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Painting, I think it's like jazz.
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As struggles go, being an artist isn't that much of one.
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Most game music is based on loops effectively.
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I wish there was a serious investigation into flying saucers that wasn't conducted by crackpots. Unfortunately nearly all of the people who are interested in them kind of manufacture the evidence to fit the theories rather than the other way around. So it's very hard to find any dispassionate treatment of them. Maybe there isn't any scientific basis in which case that's why you never see any scientific evidence.
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One of the interesting things about having little musical knowledge is that you generate surprising results sometimes; you move to places you wouldn't if you knew better.
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When our governments want to sell us a course of action, they do it by making sure it's the only thing on the agenda, the only thing everyone's talking about. And they pre-load the ensuing discussion with highly selected images, devious and prejudicial language, dubious linkages, weak or false 'intelligence' and selected 'leaks.'
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The seven white notes on the piano - each section of the piece (there are 12 sections) is five of those seven white notes. If you calculate it, there are 21 groups of five notes in any group of seven notes. And although there are 12 sections, this piece actually uses nine of those groups because some of the sections repeat earlier ones. So that's the formula. It's very simple as a way of generating something. It's my inner minimalist.
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Since I have always preferred making plans to executing them, I have gravitated towards situations and systems that, once set into operation, could create music with little or no intervention on my part. That is to say, I tend towards the roles of planner and programmer, and then become an audience to the results.
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The great benefit of computer sequencers is that they remove the issue of skill, and replace it with the issue of judgement.
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We are increasingly likely to find ourselves in places with background music. No composers have thought to write for these modern spaces, which represent 30% of our musical experience.
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I've noticed a terrible thing, which is I will agree to anything if it's far enough in the future.
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I suppose I am reluctant about being any sort of 'star' and I didn't particularly want to be portrayed as one.
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Control and surrender have to be kept in balance. That's what surfers do - take control of the situation, then be carried, then take control. In the last few thousand years, we've become incredibly adept technically. We've treasured the controlling part of ourselves and neglected the surrendering part.
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I'm often accused of being ahead of my time, but it's simply not true. The truth is that everybody else is behind.
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The biggest crime in England is to rise above your station. It's fine to be a pop star. 'Oh, it's great, lots of fun, aren't they sweet, these pop stars! But to think you have anything to say about how the world should work? What arrogance!'
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I do love being in my studio. Especially at night.
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I think we're about ready for a new feeling to enter music. I think that will come from the Arabic world.
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Nearly all the things I do that are of any merit at all start off just being good fun, and I think I'm sort of building up to doing something else quite soon.
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You can't really imagine music without technology.
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I enjoy working with complicated equipment. A lot of my things started just with a rhythm box, but I feed it through so many things that what comes out sounds very complex and rich.
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All music has political dimensions because it suggests a way of being.
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I'd love it if American kids were listening to Muslim music.
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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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My shows are not narratives.