Thinking Inside the Box: Brian Eno, music, movement and light

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Loydell, Rupert ; Marshall, Kingsley (2016)
  • Publisher: Routledge
  • Related identifiers: doi: 10.1080/14702029.2016.1195073
  • Subject: apps | brit_film | creative_writing | cs | digital_music | digital_tech | music | phil_arts | pop | research | sound_art | tech

In total darkness, or in a very large room, very quietly [Eno,Brian, and Peter Schmidt. (1979). Oblique Strategies. The Authors.]\ud \ud This article considers how Eno has used simple but innovative ideas,programmes and processes to inform his films, apps and installation work. Avoiding spectacle, noise and complexity, Eno and his collaborators have produced an array of intriguing and engaging visual art works. In T. The New York Times Style Magazine, Eno stated that he ‘was trying to make visual art become more like music, in that it changed the way music changes’ [Eno, Brian.(2013). 'The Record Producer, Sound Conceptualist Futurist and Artist Extraordinaire on the Academy Couch.' New York: Red Bull Music Academy. Accessed April 14, 2014]. Kingsley Marshall and Rupert Loydell use remix, juxtaposition and creative writing, along with more traditional research methods, to cast light onto the ways in which appropriation, process and collaboration have\ud informed Eno’s creative output. They use Eno’s own words, along with critiques of his work, and writing by those who have inspired him, to consider how Eno creates his quiet rooms and visual music. Each consecutive response here was dictated by the turn of an Oblique Strategies card.
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