What we like doing, and that’s the reason we enjoy sex, drugs, art and religion, what we like doing is surrendering always of losing me, the ways of losing yourself.
Now if you think about it, most … in our culture … most of the encouragement is to take control.
I think one of the things that art offers you is the chance to surrender, the chance to not be in control any longer. Sometimes you listen to things and you think, ‘I’ve only really had one idea in my life, and I’ve just been doing it in a hundred different ways ever since.’ That’s a sort of a slightly depressing thought, but then you … you can remind yourself that that was also true of Samuel Beckett, and Miles Davis, and a few other people.
BRIAN ENO OBLIQUE STRATEGIES DOC SERIES
The function of the Oblique Strategies was, initially, to serve as a series of prompts which said, «Don’t forget that you could adopt *this* attitude,» or «Don’t forget you could adopt *that* attitude.» -Brian Eno, interview with Charles Amirkhanian, KPFA-FM Berkeley, 2/1/80 If you’re in a panic, you tend to take the head-on approach because it seems to be the one that’s going to yield the best results Of course, that often isn’t the case – it’s just the most obvious and – apparently – reliable method. The Oblique Strategies evolved from me being in a number of working situations when the panic of the situation – particularly in studios – tended to make me quickly forget that there were others ways of working and that there were tangential ways of attacking problems that were in many senses more interesting than the direct head-on approach. There were times when we hadn’t seen each other for a few months at a time sometimes, and upon remeeting or exchanging letters, we would find that we were in the same intellectual position – which was quite different from the one we’d been in prior to that. It was one of the many cases during the friendship that he and I where we arrived at a working position at almost exactly the same time and almost in exactly the same words. ⇐ «These cards evolved from our separate working procedures. This video, which is on the SnagFilms website, will begin playing automatically if it is embedded in this page, so this link will have to do.Here’s an extract from Brian Eno‘s explanation of this random collection of maxims or aphorisms aimed at helping artists approach their work. This lengthy (157 minutes) documentary is an engaging look at one of the singular figures of 1970s music. There’s little question that this body of work represents a very, very high bar, and it’s certainly an interesting strategy to focus on exclusively the very best section of Eno’s career, leaving out most notably his production work on David Bowie’s “ Berlin Trilogy” as well as multiple albums for Talking Heads and U2, DEVO’s first album, and many others.Īs rock critic George Starostin has written, “If there is anybody in this world who could really penetrate into the very nature of SOUND itself and analyze it with the sharpest scalpel, yet leaving no traces of rude treatment upon its delicate soul, it is Mr. If that weren’t enough, it also includes his “ Oblique Strategies” project with Peter Schmidt.
So that includes the first two Roxy Music albums, Eno’s first five solo albums ( Here Come the Warm Jets, Taking Tiger Mountain (By Strategy), Another Green World, Discreet Music, and Before and After Science), his early work with Robert Fripp, and a few other projects.
Appropriating its title from Nicolas Roeg’s mid-‘70s masterpiece starring David Bowie, Brian Eno: The Man Who Fell to Earth, 1971-1977, directed by Ed Haynes, also unmistakably asserts that the high points of Eno’s career fell within the stated years.
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