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.
From Brian Eno
I'd been making music that was intended to be like painting, in the sense that it's environmental, without the customary narrative and episodic quality that music normally has. I called this 'ambient music.' But at the same time I was trying to make visual art become more like music, in that it changed the way that music changes.
From Brian Eno
Classical - perhaps I should say 'orchestral' - music is so digital, so cut up, rhythmically, pitchwise and in terms of the roles of the musicians. It's all in little boxes. The reason you get child prodigies in chess, arithmetic, and classical composition is that they are all worlds of discontinuous, parceled-up possibilities.
From Brian Eno
Pop music can absorb so many peculiar talents, ranging from the completely nonmusical poseur who just uses music as a kind of springboard for a sense of style, to people who just love putting all that complicated stuff together, brick by brick, on their computers, to people like me who like playing conceptual games and being surprised.
From Brian Eno
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.
From Brian Eno
6 perspectives
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