Brian eno oblique strategies architecture

This is a fundamental difference between Cage and me.

But my approach is, although I donвЂ™t interfere with the completion of a system, if the end result is not good, IвЂ™ll ditch it and do something else. The music systems designed by Cage are choice-free, he doesnвЂ™t filter what comes out of his mind people have to accept them passively. I donвЂ™t reject interference I choose to interfere and guide. But the approach I have chosen was different from his. John Cage вЂ¦ made a choice at a certain point: he chose not to interfere with the music content anymore. In a 2005 interview for the British Arts Council, Eno came to compare his work to that of John Cage: That is precisely what Christopher Scoates, director of the University Art Museum at California State University, explores with unprecedented depth and dimension in Brian Eno: Visual Music ( public library) - a magnificent monograph spanning more than four decades of EnoвЂ™s music projects and museum and gallery installations, contextualized amidst a wealth of exhibition notes, sketchbook pages, and other never-before-revealed archival materials. It is precisely this ethos that explains EnoвЂ™s medium-blind, experience-centric creative impulse underpinning the visual arts career that he undertook in the 1960s, which developed in tandem with his growth as a musician. вЂњStop thinking about art works as objects, and start thinking about them as triggers for experiences,вЂќ ambient music pioneer Brian Eno wrote in his diary.

Brian eno oblique strategies architecture