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.

Brian Eno

Categorized in : Tree Nature Echoes

For the world to be interesting, you have to be manipulating it a... by Brian Eno

For the world to be interesting, you have to be manipulating it all the time.

world interesting

Rationality is what we do to organize the world, to make it possible to predict. Art is the rehearsal for the inapplicability and failure of that process.

rehearsal world art

I always have wanted to know how the whole thing was done, what the process involved. And I don't particularly enjoy that my music is stripped of ancillary details, and it just sort of comes out of this big tap called the Internet like water. I like some of my water to be neatly presented in a bottle. With a label on it.

details labels water

Some people say Bowie is all surface style and second-hand ideas, but that sounds like a definition of pop to me.

hands people ideas

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.

garden people thinking

You know that in order to copyright material somebody has to write it down for you. Any piece of recorded material has to be scored in order for it to be copyrighted. I've seen the scores of my things and they don't resemble the music in any way. If you give them to somebody who has never heard the music and say, "What does this sound like to you?" they'll play you something that has no relationship with the music it derives from. Notation simply isn't adequate.

copyright writing giving

Basically, you're still sitting there using just the muscles of your hand, really. Of one hand, actually. It's another example of the transfer of literacy to making music because the assumption is that everything important is happening in your head; the muscles are there simply to serve the head. But that isn't how traditional players work at all; musicians know that their muscles have a lot of stuff going on as well. They're using their whole body to make music, in fact.

important player hands

Often, I think you find that you're enjoying certain things, you've got this new way of listening, and you find that you really enjoy the way that sounds on it and the way this other thing sounds on it and the way that other thing sounds on it. So, you're finding a new pleasure that you didn't know about before.

sound listening thinking

Whenever there's a new music, there's a new way of listening. And whenever there's a new way of listening, there are new musics that follow from that. And people start listening differently - that can either mean in different places or at different volumes or in different social groups or through different technologies.

technology mean people

I still do mostly listen to CDs. I think that every format really is a different way of listening. If you take a different sort of psychological stance to it - like, I think the transition from vinyl to CD definitely marked a difference in the way people treated music. The vinyl commands a certain kind of reverence because it's a big object and quite fragile so you handle it rather carefully, and it's expensive so you pay attention to how it's looked after.

cds differences thinking

I think the other thing that's important is getting to a place, which very, very rarely happens with improvising groups, where somebody can decide not to play for a while. You watch any group of musicians improvising together and they nearly all play nearly all the time. In fact I often say that the biggest difference between classical music and everything else is that classical musicians sometimes shut up because they're told to, because the score tells them to. Whereas any music that's sort of based on folk or jazz, everybody plays all the time.

differences play thinking

Quite often, and in fact more often, I would say, I'm struggling all the way through to think, "What is it I like about this? What is the personality of this thing I'm hearing that I like so much?" And it's nearly always a sort of mixed emotion, which is why I like it. It's something that I have mixed feelings about in the sense that it's both, say, placid and dangerous, or bitter and sweet, or dark and bright.

struggle dark sweet

Given the chance, i'll die like a baby, on some faraway beach, wh... by Brian Eno

Given the chance, i'll die like a baby, on some faraway beach, when the season's over.

chance baby beach

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?

okay facts thinking

We're going through this super-uptight era, which I think comes entirely from literacy, actually. It's the result of machines that were designed as word processors being used for making music.

uptight machines thinking

There's a kind of edge to what you're doing, the kind of leading edge of what you're doing. Inside that edge [are elements you] are familiar with, and are probably becoming slightly bored with, as well, over a period of time. "I've pulled that one out before. Oh, no, I can't I'm just fed up with that. Let's do something else."And you always think "Oh my God I've never done anything at all like that before." But, of course, in retrospect, and to an outsider, they'll say, "Oh, yeah that's typical Eno.

retrospect bored thinking

For me it's always contingent on getting a sound-the sound always suggests what kind of melody it should be. So it's always sound first and then the line afterwards.

lines sound firsts

Sometimes you recognize that there is a category of human experience that has not been identified but everyone knows about it. That is when I find a term to describe it.

categories term sometimes

Ideas reflect the moment, and so you have to use them. If you sto... by Brian Eno

Ideas reflect the moment, and so you have to use them. If you store ideas, they wither.

moments use ideas

Ambient Music must be able to accommodate many levels of listening attention without enforcing one in particular; it must be as ignorable as it is interesting.

listening attention interesting