We are increasingly likely to find ourselves in places with background music. No composers have thought to write for these modern spaces, which represent 30% of our musical experience.
Brian EnoRead
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
Interpretation
The quote reflects a preference for planning and creating systems that function independently, allowing for observation rather than active involvement.
Brian Eno suggests that he has a strong inclination toward designing and setting up systems that can operate autonomously to produce art, particularly music, with minimal input from himself after their initiation. This perspective highlights the value of planning and programming in creative endeavors, where the creator can step back and appreciate the outcomes of their own designs.
In practice
In a discussion about creativity, I might quote Eno to highlight the importance of planning in artistic endeavors.
We are increasingly likely to find ourselves in places with background music. No composers have thought to write for these modern spaces, which represent 30% of our musical experience.
I think that technology is always invented for historical reasons, to solve a historical problem. But they very soon reveal themselves to be capable of doing things that aren't historical that nobody had ever thought of doing before.
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.
People do dismiss ambient music, don't they? They call it 'easy listening,' as if to suggest that it should be hard to listen to.
In the future, you won't buy artists' works; you'll buy software that makes original pieces of 'their' works, or that recreates their way of looking at things. You could buy a Shostakovich box, or you could buy a Brahms box. You might want some Shostakovich slow-movement-like music to be generated. So then you use that box.
Ambient music must be as ignorable as it is interesting.
Whenever we have seen a crevice in the crust of convention, we have called attention to it, because we have hoped for a force underneath, which will someday come to light.
When you see the films of certain young directors, you get the impression that film history begins for them around 1980.
Learn the rules like a pro, so you can break them like an artist.
I am part of a light, and it is the music. The Light fills my six senses: I see it, hear, feel, smell, touch and think. Thinking of it means my sixth sense. Particles of Light are written note. A bolt of lightning can be an entire sonata. A thousand balls of lightening is a concert.. For this concert I have created a Ball Lightning, which can be heard on the icy peaks of the Himalayas.
Much good art got made while money ruled; I like a lot of it, and hardship and poverty aren't virtues. The good news is that, since almost no one will be selling art, artists - especially emerging ones - won't have to think about turning out a consistent style or creating a brand. They'll be able to experiment as much as they want.
For the poet the credo or doctrine is not the point of arrival but is, on the contrary, the point of departure for the metaphysical journey.
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