adactio / tags / brian eno

Tagged with “brian eno” (19)

  1. Brian Eno: The Long Now - The Long Now

    The Long Now

    Brian told the origins of his realizations about the "small here" versus the "big here" and the "short now" versus the "long now."

    He noted that the Big Here is pretty well popularized now, with exotic restaurants everywhere, "world" music, globalization, and routine photos of the whole earth.

    Instant world news and the internet has led to increased empathy worldwide.

    But empathy in space has not been matched by empathy in time.

    If anything, empathy for people to come has decreased.

    We seem trapped in the Short Now.

    The present generation enjoys the greatest power in history, but it appears to have the shortest vision in history. That combination is lethal.

    Danny Hillis proposed that there’s a bug in our thinking about these matters—-about long-term responsibility.

    We need to figure out what the bug is and how to fix it.

    We’re still in an early, fumbling phase of doing that, like the period before the Royal Society in 18th-century England began to figure out science.

    Tim O’Reilly gave an example of the kind of precept that can emerge from taking the longer-term seriously.

    These days shoppers are often checking out goods (trying on clothes, etc.) in regular retail stores but then going online to buy the same goods at some killer discount price.

    Convenient for the shopper, terrible for the shops, who are going out of business, hurting communities in the process.

    The aggregate of lots of local, short-term advantage-taking is large-scale, long-term harm.

    Hence Tim’s proposed precept, now spreading on the internet: "Buy where you shop."

    Ie. When you shop online, buy there.

    When you shop in shops, buy there.

    Four simple words that serve as a reminder to head off accumulative harm.

    Leighton Read observed that imagining the future is an acquired skill, and comes in stages.

    An infant can’t imagine the next bottle, or plan for it.

    A teenager can at most imagine the next six months, and only on a good day; on a rowdy Saturday night, Sunday morning is too remote to grasp.

    For us adults the distant future is still unimaginable.

    One thing that Leighton likes about the 10,000-year Clock project is that it lets you imagine a particular part of the very remote future—-the Clock ticking away in its mountain—-and then you can widen your scope from there, to include climate change over centuries, for example.

    Alexander Rose suggested that we should collect examples where a small effort in the present pays off huge in the long term.

    Tim O’Reilly would like to see us develop a taxonomy of such practices.

    Brian’s talk Friday night at Fort Mason was a smashing affair.

    Some 750 people were pried into the Herbst Pavillion, while 400-500 had to be turned away.

    Eno evidently attracts the sweetest, brightest people—-everyone was polite and helpful and patient.

    The only publicity for the lecture had been email forwarded among friends and posted on blogs, plus one radio show (Michael Krasny’s "Forum").

    —Stewart Brand

    http://longnow.org/seminars/02003/nov/14/the-long-now/

    —Huffduffed by adactio

  2. EP.38 - Brian Eno, Part Two

    The second of two rambly conversations with artist, musician, producer and polymath, Brian Eno.

    https://www.acast.com/adambuxton/ep.38-brianenoparttwo

    —Huffduffed by adactio

  3. EP.37 - Brian Eno, Part One

    The first of two rambly conversations with artist, musician, producer and polymath, Brian Eno.

    https://www.acast.com/adambuxton/ep.37-brianenopartone

    —Huffduffed by adactio

  4. Hardtalk - Brian Eno

    Stephen Sackur talks to Brian Eno, the hugely influential contemporary music maker once styled the ‘brainiest guy in pop’ – except the word ‘pop’ does not really fit. Briefly a member of Roxy Music in the early ’70s, he then went his own way, creating ambient music, developing audio-visual installations and collaborating with a host of big names including Bowie, U2 and Coldplay. His output has been prolific and varied, but what is he? A musician, a composer, or an artist impossible to label?

    —Huffduffed by adactio

  5. BBC Radio 6 Music - The John Peel Lecture, Brian Eno’s BBC Music John Peel Lecture 2015

    Listen to Brian Eno deliver his John Peel Lecture on the ecology of culture.

    http://www.bbc.co.uk/programmes/p033smwp

    —Huffduffed by adactio

  6. Fireside Chat: Brian Eno

    Electronic music didn’t start with Brian Eno, but it was certainly never the same after him. On Roxy Music’s first two albums he helped make synthesizers and tape effects part of a rock lineup, pricking the ears of future synth-pop creators such as Human League. As a solo artist he forged a new genre, which he dubbed ambient music, before effectively becoming a one-man genre himself, lending touches to Genesis (where he’s credited with “Enossification”), John Cale, and David Bowie during his golden Berlin period. There wasn’t much in the way of experimental 70s music that wasn’t made a little odder by Eno’s touch. But that touch could also be a multiplatinum one, as he showed as a producer for U2 in the mid-80s and Coldplay 20 years later. In the 90s he created perhaps the most widely heard music of all: the six-second start-up sound for Microsoft’s Windows 95 operating system. Typically mischievous, he later let it be known that he’d created it on a Mac.

    —Huffduffed by adactio

  7. Brian Eno, Danny Hillis: The Long Now, now

    Make the next legal U-turn

    "Bitching Betty," they call the robotic voice of the car’s GPS guidance system.

    Eno and Hillis, on their road trips, always become so engrossed in conversation that they get lost—one time, driving to Monterey they wound up in Sacramento, 200 miles wrong.

    So they turn on GPS, and Betty joins the conversation with helpful advice about U-turns.

    Hillis observed, "The GPS is very good at giving you instructions to get someplace.

    But Brian and I have no idea where we’re going; we just want some time together.

    What usually happens for us after a couple days of frustratingly looking at the tiny GPS map is that we stop and buy a big paper map.

    And the moment we open a map of Nevada or Arizona, it feels like we’re in a much bigger world.

    The big maps are not that useful to navigate by, but there’s a sense of relief of seeing the bigger context and all the possibilities of where we might go.

    That’s exactly what The Long Now Foundation is for."

    Culture is a long conversation, Eno proposed.

    "When I talk about the practice of art I often use the word "conversation" because I think that you never see a piece of art on its own.

    You look at a painting in relation to the whole conversation of paintings.

    Some things are completely meaningless outside of that kind of context.

    if you think about Kazimir Malevich’s "White on White" painting, it’s hardly a picture actually, but it’s an important picture in the history of painting up to that point."

    Hillis replied, "My plan for painting is to have my bones removed and replaced with titanium, and then I grind up my bones to make white pigment."

    Eno: "That’s very old-fashioned."

    Hillis talked about the long-term stories we live by and how our expectations of the future shape the future, such as our hopes about space travel.

    Eno said that Mars is too difficult to live on, so what’s the point, and Hillis said, "That’s short-term thinking.

    There are three big game-changers going on: globalization, computers, and synthetic biology.

    (If I were a grad student now, I wouldn’t study computer science, I’d study synthetic biology.)

    I probably wouldn’t want to live on Mars in this body, but I could imagine adapting myself so I would want to live on Mars.

    To me it’s pretty inevitable that Earth is just our starting point."

    Eno remarked, "Sex, drugs, art, and religion—those are all activities in which you deliberately lose yourself.

    You stop being you and you let yourself become part of something else.

    You surrender control.

    I think surrendering is a great gift that human beings have.

    One of the experiences of art is relearning and rehearsing surrender properly.

    And one of the values perhaps of immersing yourself in very long periods of time is losing the sense of yourself as a single focus of the universe and seeing yourself as one small dot on this long line reaching out to the edges of time in each direction."

    Hillis described some elements of surrender designed in to the visitor experience of the 10,000-year Clock being built in the mountains of west Texas.

    "You’ll be away from your usual environment for days to travel to the remote site.

    Because of where it is on the mountain, you have to wake up before dawn, and there’s the physical exertion of climbing up the mountain.

    As you climb, there’s some points of confusion, where you’re not sure if you’re in the right place.

    "For example, in the total darkness inside the mountain, as you go up the spiral stairs surrounding the Clock mechanism for hundreds of feet, you think you know where you’re going because there’s light at the top of the shaft that you’re climbing toward, but as you get up there, the stairs keep becoming narrower, and you see they’re tapering off to smaller than you could possibly walk on.

    And you realize, ‘My plan isn’t going to work.’

    "You have to get away from the idea of direct progress and surrender that kind of control in order to find your way."

    —Stewart Brand

    http://longnow.org/seminars/02014/jan/21/long-now-now/

    —Huffduffed by adactio

  8. Brian Eno: The Long Now (02003-11-14)

    Brian told the origins of his realizations about the "small here" versus the "big here" and the "short now" versus the "long now." He noted that the Big Here is pretty well popularized now, with exotic restaurants everywhere, "world" music, globalization, and routine photos of the whole earth. Instant world news and the internet has led to increased empathy worldwide.

    But empathy in space has not been matched by empathy in time. If anything, empathy for people to come has decreased. We seem trapped in the Short Now. The present generation enjoys the greatest power in history, but it appears to have the shortest vision in history. That combination is lethal.

    Danny Hillis proposed that there’s a bug in our thinking about these matters—-about long-term responsibility. We need to figure out what the bug is and how to fix it. We’re still in an early, fumbling phase of doing that, like the period before the Royal Society in 18th-century England began to figure out science.

    Tim O’Reilly gave an example of the kind of precept that can emerge from taking the longer-term seriously. These days shoppers are often checking out goods (trying on clothes, etc.) in regular retail stores but then going online to buy the same goods at some killer discount price. Convenient for the shopper, terrible for the shops, who are going out of business, hurting communities in the process. The aggregate of lots of local, short-term advantage-taking is large-scale, long-term harm. Hence Tim’s proposed precept, now spreading on the internet: "Buy where you shop." Ie. When you shop online, buy there. When you shop in shops, buy there. Four simple words that serve as a reminder to head off accumulative harm.

    Leighton Read observed that imagining the future is an acquired skill, and comes in stages. An infant can’t imagine the next bottle, or plan for it. A teenager can at most imagine the next six months, and only on a good day; on a rowdy Saturday night, Sunday morning is too remote to grasp. For us adults the distant future is still unimaginable. One thing that Leighton likes about the 10,000-year Clock project is that it lets you imagine a particular part of the very remote future—-the Clock ticking away in its mountain—-and then you can widen your scope from there, to include climate change over centuries, for example.

    Alexander Rose suggested that we should collect examples where a small effort in the present pays off huge in the long term. Tim O’Reilly would like to see us develop a taxonomy of such practices.

    http://longnow.org/seminars/02003/nov/14/the-long-now/

    —Huffduffed by adactio

  9. Brian Eno Interviewed on KPFA’s Ode to Gravity, 1980, Reel 2 (53:36)

    Reel II starts with the history of the recording studio as a compositional tool;" and collaboration with David Byrne on album My Life in the Bush of Ghosts. Eno also talks about and listens to Elvis, The Supremes, Sly Stone, Lee Perry and Jimmy Hendrix. Then he offers some unfinished pieces from his upcoming album with David Byrne.

    http://ubu.com/sound/eno.html

    —Huffduffed by adactio

  10. Brian Eno Interviewed on KPFA’s Ode to Gravity, 1980, Reel 1 (54:30)

    Charles Amirkhanian and Brian Eno discuss Phonetic Poetry, how Brian writes his lyrics, and the spirit of inquisitiveness at KPFA Radio on Saturday February 2, 1980. Listen to some of Brian Enos pieces; After the Heat, Everything Merges With the Night, Another Green World, Spirits Drifting and sections of other pieces. Brian Eno also discusses the artist Peter Schmidt and their work on the Oblique Strategies Cards, being a producer, Process vs Product and looping. Reel I ends with some thoughts on Steve Reich and his music.

    http://ubu.com/sound/eno.html

    —Huffduffed by adactio

Page 1 of 2Older