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Danh ngôn của Brian Eno (Sứ mệnh: 6)

I don't live in the past at all; I'm always wanting to do something new. I make a point of constantly trying to forget and get things out of my mind.
I felt extremely uncomfortable as the focal point, in the spotlight. I really like the behind the scenes role, because all my freedom is there.
It's not the destination that matters. It's the change of scene.
Musicians are there in front of you, and the spectators sense their tension, which is not the case when you're listening to a record. Your attention is more relaxed. The emotional aspect is more important in live music.
The basis of computer work is predicated on the idea that only the brain makes decisions and only the index finger does the work.
I'm always interested in what you can do with technology that people haven't thought of doing yet.
Once music ceases to be ephemeral - always disappearing - and becomes instead material... it leaves the condition of traditional music and enters the condition of painting. It becomes a painting, existing as material in space, not immaterial in time.
I'm actually an evangelical atheist, but there is something I recognise about religion: that it gives people a chance to surrender.
You can't really imagine music without technology.
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.'
I believe that singing is the key to long life, a good figure, a stable temperament, increased intelligence, new friends, super self-confidence, heightened sexual attractiveness, and a better sense of humor.
People like Frank Zappa and Bryan Ferry knew we could pick and choose from the history of music, stick things together looking for friction and energy. They were more like playwrights; they invented characters and wrote a life around them.
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.
When I first started making ambient music, I was setting up systems using synthesizers that generated pulses more or less randomly. The end result is a kind of music that continuously changes. Of course, until computers came along, all I could actually present of that work was a piece of its output.
If you want to make computers that really work, create a design team composed only of healthy, active women with lots else to do in their lives, and give them carte blanche.
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.
Democracy is a daring concept - a hope that we'll be best governed if all of us participate in the act of government. It is meant to be a conversation, a place where the intelligence and local knowledge of the electorate sums together to arrive at actions that reflect the participation of the largest possible number of people.
When governments rely increasingly on sophisticated public relations agencies, public debate disappears and is replaced by competing propaganda campaigns, with all the accompanying deceits. Advertising isn't about truth or fairness or rationality, but about mobilising deeper and more primitive layers of the human mind.
I like the idea of a kind of eternal music, but I didn't want it to be eternally repetitive, either. I wanted it to be eternally changing. So I developed two ideas in that way. 'Discreet Music' was like that, and 'Music for Airports.' What you hear on the recordings is a little part of one of those processes working itself out.
I trust my taste. I trust it completely and I always have done, and I've always thought it isn't that different from everybody else's.