A Quote by Brian Eno
There are certain sounds that I've found work well in nearly any context. Their function is not so much musical as spatial: they define the edges of the territory of the music.
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What is usually called 'intelligence' refers to the linguistic and logical capacities that are valued in certain kinds of school and for certain school-like tasks. It leaves little if any room for spatial intelligence, personal intelligences, musical intelligence, etc.
I try to listen attentively to musical sounds around me. You can think of the sounds of daily life as being musical. So I try to absorb the intricacies of the sounds as I would if I were listening to a piece of music. I try to see the beauty in everything.
The Ultimate Rule ought to be: 'If it sounds GOOD to you, it's bitchin'; if it sounds BAD to YOU, it's shitty. The more your musical experience, the easier it is to define for yourself what you like and what you don't like. American radio listeners, raised on a diet of _____ (fill in the blank), have experienced a musical universe so small they cannot begin to know what they like.
These days, DJ's are the ones who are bringing fresh sounds to the music world. In fact, they are creating a new spatial music. They are the space transformers of the universe.
I think the best pictures are often on the edges of any situation, I don't find photographing the situation nearly as interesting as photographing the edges.
The course hitherto pursued in musical aesthetics has nearly always been hampered by the false assumption that the object was not so much to inquire into what is beautiful in music as to describe the feelings which music awakens.
I can't define myself as a political writer - I don't think I've earned it, and I don't function as a political writer in the way that many of the writers I admire do. It's not simply a question of context, of where I'm writing from - there is much in American society that urgently needs to be written about. I think your work is always engaged with politics in the looser sense of the word - and that looseness is itself a kind of privilege - because politics and culture are evidently intertwined.
I come from a background of experimental music which mingled real sounds together with musical sounds.
Sounds of daily life are musical. I try to absorb the intricacies of sounds as if I were listening to music.
I am convinced that an electronic machine, no matter how smart and intelligent, being still a mere spatial structure in concept, can neither innovate nor even understand the self-evident proposition: 'No spatial structure can be a representation of any feeling'. Such innovation can only be a work of a non-spatial mind, like a human being, and only such innovation, it should be acknowledged, can pave the way for further scientific achievements.
I never wanted to be well-rounded. I do not admire well-rounded people nor their work. So far as I can see, nothing good in the world has ever been done by well-rounded people. The good work is done by people with jagged, broken edges, because those edges cut things and leave an imprint, a design.
I'm obsessed - not just interested, obsessed - with folk music, street music, the parallels between a country's street music and its so-called classical and intellectual music, the way certain scales have travelled right across the globe. All this ethnological and musical interaction fascinates me. Have you heard any trance music? That's the thing.
The most important thing is that you honor that musical integrity, whether you make music that sounds like ABBA or you make music that sounds like Void.
NEU!'s music will always ("für immer") be a part of me and I absolutely stand to what we've created. Of course I have changed since and I judge my contributions to NEU!'s music of the 70's in a historical context. They were both a description of my feelings back then as well as an expression of my musical abilities and limitations. It would be a mistake to ignore the time factor and it would be an artistic shortcoming to pick up on the old concept without doing any changes. There is no way this is going to happen anyway.
If you develop an ear for sounds that are musical it is like developing an ego. You begin to refuse sounds that are not musical and that way cut yourself off from a good deal of experience.
I believe the use of noise to make music will increase until we reach a
music produced through the aid of electrical instruments which will make
available for musical purposes any and all sounds that can be heard.
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