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I make a lot of pieces of music that I never release as CDs.

Brian Eno

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Brian Eno
Age: 76
Born: 1948
Born: May 15
Composer
Musician
Painter
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Borough of Melton
Eno
Brian Peter George Eno
Brian Peter George St John le Baptiste de la Salle Eno
Never
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I'm always interested in what you can do with technology that people haven't thought of doing yet.
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Some people say Bowie is all surface style and second-hand ideas, but that sounds like a definition of pop to me.
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Anything popular is populist, and populist is rarely a good adjective.
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I set up situations that involve abandoning control and finding out what happens.
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Good teachers realise that the students are the antenna they are sensing things that the teachers don't yet sense.
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The dominant theory coming out of Hollywood is that peoples' attention spans are getting shorter and shorter and they need more stimulation.
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The tools are evolving, and people's interests are evolving as well. So, suddenly people like to hear bands, people like Devendra Banhart or the xx, bands that make a kind of virtue of sloppiness. That isn't what they would describe what they're doing, but the fact is they make a virtue of the sort of hand-made nature of what they're doing.
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You feel as if you're not living a full life. Which, of course, is why - it's my theory about why so many people who are heavily into computers are also into extreme sports and S&M. It's because their bodies are crying out for some kind of action.
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Except in a few cases like Music for Airports, which was a very clear case of noticing a niche [and] saying, Okay, there's this situation in which people always play music, and nobody has written music for that situation so I'm going to. So, that was a very clear example of spotting a niche and working for it. I have done that occasionally.
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The smart thing in the art world is to have one good idea and never have another.
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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 artists of the past who impressed me were the ones who really focused their work.
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Well, there are some things that I just can't get out of my head, and they start to annoy me after a while. Sometimes they're of my own creation, as well - and they're just as annoying. It's not only other people's ear worms that bug me, it's my own, as well.
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The most important thing in a piece of music is to seduce people to the point where they start searching.
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Attention is what creates value. Artworks are made as well by how people interact with them - and therefore by what quality of interaction they can inspire.
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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?
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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.
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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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The point about working is not to produce great stuff all the time, but to remain ready for when you can.
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With all fashion, what we do is play at being somebody else. We play at inhabiting another kind of world.
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