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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.

Brian Eno

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Brian Eno
Age: 76
Born: 1948
Born: May 15
Composer
Musician
Painter
Photographer
Record Producer
Singer
Songwriter
Writer
Borough of Melton
Eno
Brian Peter George Eno
Brian Peter George St John le Baptiste de la Salle Eno
Control
Pretty
Sound
Headphones
Use
Exclude
Else
Rarely
Everything
Hearing
Much
Completely
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Listening to something is an act of surrender.
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I set up situations that involve abandoning control and finding out what happens.
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I think most artists would be happy to have bigger audiences rather than smaller ones. It doesn't mean that they are going to change their work in order necessarily to get it, but they're happy if they do get it.
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Painting, I think it's like jazz.
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In the 19th century, a lot of people were against outlawing child labour, because to do so would be against the very foundations of a free market economy: 'These children want to work, these people want to employ them... what is your problem? It's not as if anyone has kidnapped them...'
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Human development thus far has been fueled and guided by the feeling that things could be, and are probably going to be, better.
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It infuriates me that stuff from the Internet routinely doesn't include all the credits. Because as soon as I listen to something, if I like it, I want to know, Who's the bass player? Who did that? Who's the engineer on this?
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It's amazing how quickly people get used to bad quality.
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The micro-compositions are the pieces themselves, but the macro-composition is the whole set of them and how it moves from track to track and how the titles relate to one another, for example. Always when I do records like this of a selection of instrumental pieces - the titles, to me, are very important.
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I see TV as a picture medium rather than a narrative medium.
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As soon as I hear a sound, it always suggests a mood to me.
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Genius is individual, scenius is communal.
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I prefer to shoot the arrow, then paint the target around it. You make the niches in which you finally reside.
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I often say to people that producing is the best paid form of cowardice. When you produce things you almost always get credit, if it's a good record, but you hardly ever get the blame if it's not! You don't really take responsibility for your work.
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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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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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I often work by avoidance.
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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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Nothing so dates an era as its conception of the future.
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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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