By Christopher Scoates
This complete monograph celebrates the visible paintings of popular musician Brian Eno. Spanning greater than forty years, Brian Eno: visible Music weaves a discussion among Eno's museum and gallery installations and his musical endeavors—all illustrated with never-before-published archival fabrics equivalent to sketchbook pages, set up perspectives, screenshots, and extra. Steve Dietz, Brian Dillon, Roy Ascott, and William R. Wright contextualize Eno's contribution to new media paintings, whereas Eno himself stocks insights into his technique. each reproduction contains a obtain code for a formerly unreleased piece of song created via Eno, making this assortment a considered necessary for fanatics and creditors.
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Additional resources for Brian Eno: Visual Music
Example text
Fig. 11 Mindmap by a Groundcourse student, Ipswich Civic College, ca. 1963. fig. 10 fig. ” In this project each student had to invent a game that would test and evaluate the responses of the people who played it. All the students then played all of the games, and the results for each student were compiled in the form of a chart—or mindmap. The mindmap showed how a student tended to behave in the company of other students and how he reacted to novel situations. In the next project each student produced another mindmap for himself that was the exact opposite of the original.
But that got wrecked, unfortunately. 44 45 Quoted in Michael Nyman, Experimental Music: Cage and Beyond (Cambridge, UK: Cambridge University Press, 1974), 15. ” 47 Eno, lecture for Trent Polytechnic (1974), quoted in Eno and Mills, More Dark Than Shark, 43. Another work that Eno performed with the Merchant Taylor’s Simultaneous Cabinet was La Monte Young’s 1960 piece X for Henry Flynt. ”45 The repetition dictated by Young’s score was of lasting significance for Eno’s work; while performing the piece, he realized that it was impossible to hit the same cluster of notes in the same way every time: “I did another one with an open piano frame where I just used a big flat piece of wood, Crash Crash Crash.
It sounds horrible I know, but if you last ten minutes it gets very interesting. My first performance of it lasted an hour and the second one an hour and a half. It’s one of those hallucinatory pieces where your brain starts to habituate so that you cease to hear all the common notes, you just hear the differences from crash to crash, and these become so beautiful”46 (fig. 16). There was always a variation—whether an imperfection or error— due to the impossibility of repeatedly playing the same notes in the same manner for the same length of time.
