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
Once I started working with generative music in the 1970s, I was flirting with ideas of making a kind of endless music - not like a record that you'd put on, which would play for a while and finish.
Interpretation
Brian Eno discusses his exploration of generative music, emphasizing its continuous nature unlike traditional music formats.
In this quote, Brian Eno reflects on his experimentation with generative music in the 1970s, a form of music that evolves and flows continuously rather than relying on fixed compositions or records. This approach allows for a unique listening experience where music can be endless and ever-changing, challenging the conventional notion of how music is created and consumed.
In practice
During a lecture on contemporary music, you could use this quote to illustrate the evolution of music technology.
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.
I still feel like I have a lot to learn in the realm of sound experimentation, and I think I would like things to get noisier and weirder and more distressed and more aggressive, but I don't know if that's something that would be suitable for public consumption.
In art and dream may you proceed with abandon. In life may you proceed with balance and stealth.
I like things that go into hidden, mysterious places, places I want to explore that are very disturbing. In that disturbing thing, there is sometimes tremendous poetry and truth.
Literary works cannot be taken over like factories, or literary forms of expression like industrial methods. Realist writing, of which history offers many widely varying examples, is likewise conditioned by the question of how, when and for what class it is made use of.
Do you realize that people don't know how to read Kafka simply because they want to decipher him? Instead of letting themselves be carried away by his unequaled imagination, they look for allegories - and come up with nothing but clichés: life is absurd (or it is not absurd), God is beyond reach (or within reach), etc. You can understand nothing about art, particularly modern art, if you do not understand that imagination is a value in itself.
Art -- the fresh feeling, new harmony, the transforming magic which by means of myth brings back the scattered distracted soul from its modern chaos -- art, not politics, is the remedy.
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