Eno Quotes

Whatever you now find weird, ugly, uncomfortable and nasty about a new medium will surely become its signature. CD distortion, the jitteriness of digital video, the crap sound of 8-bit - all of these will be cherished and emulated as soon as they can be avoided. It’s the sound of failure: so much modern art is the sound of things going out of control, of a medium pushing to its limits and breaking apart. The distorted guitar sound is the sound of something too loud for the medium supposed to carry it. The blues singer with the cracked voice is the sound of an emotional cry too powerful for the throat that releases it. The excitement of grainy film, of bleached-out black and white, is the excitement of witnessing events too momentous for the medium assigned to record them.

Honor your mistake as a hidden intention.

The first Velvet Underground album only sold 10,000 copies, but everyone who bought it formed a band

Well, I am a dilettante. It's only in England that dilettantism is considered a bad thing. In other countries it's called interdisciplinary research.

More and more I find I want to be living in a Big Here and a Long Now.

They don't live here. They live in Heaven.' Where's that?' I don't know,' I said. 'Enos says it's right here, on this side of the wall, but I never saw an angel over here. Kuba says it's in Russia. Olek says Washington America.' What's Washington America?' Enos says it's a place with no wall and no lice and lots of potatoes.

When the challenges of mortality come, and they come for all of us, it may seem hard to have faith and hard to believe. At these times only faith in the Lord Jesus Christ and His Atonement can bring us peace, hope, and understanding. Only faith that He suffered for our sakes will give us the strength to endure to the end. When we gain this faith, we experience a mighty change of heart, and like Enos, we become stronger and begin to feel a desire for the welfare of our brothers and sisters. We pray for them, that they too will be lifted and strengthened through faith on the Atonement of our Savior Jesus Christ.

Ko hodiš, pojdi zmeraj do konca. Spomladi do rožne cvetice, poleti do zrele pšenice, jeseni do polne police, pozimi do snežne kraljice, v knjigi do zadnje vrstice, v življenju do prave resnice, v sebi do rdečice čez eno in drugo lice. A če ne prideš ne prvič, ne drugič do krova in pravega kova poskusi: vnovič in zopet in znova.

You talk to me as if from a distance And I reply with impressions chosen from another time.

Cooking is a way of listening to the radio.

Stop thinking about art works as objects and start thinking about them as triggers for experiences. What makes a work of art good for you is not something that s already inside it but something that happens inside you.

One time Clu tried to explain it to me,” Enos continued. “‘Sometimes,’ he said, ‘you don’t want to escape the world; sometimes you want to escape yourself.’ ” He cocked his head. “Do you believe that?” “Not really,” Myron said. “Like a lot of cute phrases, it sounds good. But it also sounds like a load of self-rationalization.

The biology of purpose keeps my nose above the surface.

Honour thy error as a hidden intention.

And that we call enos ermarf." "What?" I didn't see what he was pointing at. "That. The way the lake curves forward into t grass, framed by derrishoul trees." "You have a word for something like that?" I asked. -Animorphs #4, The Visitor page 63

My interest in making music has been to create something that does not exist that I would like to listen to. I wanted to hear music that had not yet happened, by putting together things that suggested a new thing which did not yet exist.

I disappeared in her and she, wondering where I went, left.

I'm kind of an evangelical atheist.

Ideas are one thing and what happens is another.’ (John Cage)

I want to make things that put me in the position of innocence, that recreate the feeling of innocence in you.

I believe in singing. I believe in singing together.

Given the chance, i'll die like a baby, on some faraway beach, when the season's over.

I say burn that witch. (Enos) Aye. Burn the witch. Burn the witch. (Clan) Burn the witch and her ugly shoes too! (Enos) (Braden frowned at him.) Well, they are ugly. (Enos)

GEN4.26 And to Seth, to him also there was born a son; and he called his name Enos: then began men to call upon the name of the LORD.

If we are ever going to achieve a rational approach to organizing our affairs, we have to dignify the process of admitting to being wrong. It doesn't help matters at all if the media, or your friends, accuse you of "flip-flopping" when you change your mind. Changing our minds is our hope for the future.

Pop culture didn’t actually need an Andy Warhol to make it postmodern. Rock ’n’ roll was never anything but a faked-up blues—something that the glam-era Bowie had understood perfectly. (Eno: “Some people say Bowie is all surface style and second-hand ideas, but that sounds like a definition of pop to me.”)

When Brian Eno approached the father of Anthea Norman-Taylor for permission to marry her, he was told, “What you have to ask yourself is, ‘Would I wish this woman to be the grandmother of my grandchildren?

Regard your limitations as secret strengths. Or as constraints that you can make use of.

American television really is pathetic.

The forests are the flags of nature. They appeal to all and awaken inspiring universal feelings. Enter the forest and the boundaries of nations are forgotten. It may be that some time an immortal pine will be the flag of a united peaceful world.

Kad sam je drugi put video rekao sam: "Eno Moje Poezije kako prelazi ulicu." Obećala je da će doći ako bude lepo vreme. Brinuo sam o vremenu, pisao svim meteorološkim stanicama. Svim poštarima svim pesnicima a naročito sebi. Da se kiše zadrže u zabačenim krajevima. Bojao sam se da preko noći ne izbije rat, Jer na svašta su spremni oni koji hoće da ometu naš sastanak Sastanak na koji već kasni čitavu moju mladost. Te noći sam nekoliko vekova strepeo za tu ženu Tu ženu sa dve senke, Od kojih je jedna mračnija i nosi moje ime. Sad se čitav grad okreće za Mojom Poezijom Koju sam davno sreo na ulici i pitao: "Gospodjice osećam se kao stvar koju ste izgubili Da nisam možda ispao iz vaše tašne?" Ja sam njen lični pesnik kao što ona ima i lične ljubavnike. Volim je više no što mogu da izdržim, Više od mojih raširenih ruku, Mojih ljubavnih ruku punih žara punih magneta i ludila. Moj snu, kao asfalt izbušen njenim štiklama, Noći, za mene sve duža bačena izmedju nas, Ona mi celu krv nesrećnom ljubavlju zamenjuje. Moje su uši pune njenog karmina, Te providne te hladne uši to slatko u njima Kad se kao prozori zamagle od njenog daha. Kako je ona putovala pomerao se i centar sveta. Pomerala se njena soba koja ne izlazi iz moje glave Sumo vremena, sumo ničega, ljubavna sumo, Još ne prestaje da me boli uvo Koje mi je pre rodjenja otkinuo Van Gog To uvo što krvari putujući u ljubavnim kovertama. U staklenu zoru palu u prašinu, Plivao sam što dalje ka pustim mestima da bih slobodno jaukao. Ptico nataložena u grudima što ti ponestaje vazduha, Radnice popodne na tudjem balkonu, Već dvadeset godina moj pokojni otac ne popravlja telefon, Već dvadeset godina on je mrtav bez ikakvih isprava. O koliko ćemo užasno biti razdvojeni i paralelni, O koliko ćemo biti sami u svojim grobovima. Još oko nje oblećem kao noćni leptir oko sveće I visoke prozore spuštam pred njene noge. Moje srce me drži u zatvoru i vodi pred njenu kuću Gde su spuštene zavese nad mojom ljubavlju. Ta žena puna malih časovnika sa očima u mojoj glavi, Taj andjeo, isprljan suncem list vode, list vazduha, Ljubomorne zveri oru zemlju i same se zakopavaju. O sunce nadjeno medju otpacima... Zuje uporednici kao telegrafske žice, Prevrću se golubovi kao beli plakati u vazduhu, I mrtve ih krila godinama zadržavaju u visinama Kao što mene njena obećanja održavaju u životu. O siroče u srcu što ti brišem suze Moja nesrećna ljubavi razmeno djubreta Stidim se dok je ljubim kao da sam sve to izmislio. Kuća, ništavilo na svim prozorima, Sve je dignuto u vazduh. Samo se još nesrećni pesnici kurvinski bave nadom.

Gala Gradiva - 'tista, ki hodi spredaj, 'brezmadežna intuicija' - je imela spet prav. Danes lahko rećem, da izmed vseh mojih prepričanj le dveh ne zmorem razložiti s svojo voljo do moči: eno je znova najdena vera leta 1949, drugo pa, da bo imela Gala glede moje prihodnosti vedno prav.

Ambient music must be able to accommodate many levels of listening attention without enforcing one in particular; it must be as ignorable as it is interesting

You have 62 people worth the amount the bottom three and a half billion people are worth. Sixty-two people! You could put them all in one bloody bus… then crash it!

Words

El viajero reconoce lo poco que es suyo al descubrir lo mucho qu eno ha tenido y no tendrá

What's Washington America?" "Enos says it's a place with no wall and no love and lots of potatoes.

When did your childhood end? How badly did you get hurt, when you did, when you were this little wee little hurtable thing, nothing but big eyes, a heart, a few hundred words? Isn’t it wonderful how we never recover? Injuries and wounds, ladies and gents. Slights and abuses, oh, what a paradise. Living in fear, suiting the hurt to our need. What a happy life. What a good game. Who can stand the most, the most life, and still smile, still grin into the coming night and say more, more, encore, encore, you fuckers, you fates, just give me more of the bloody bloody same.

Tommy Cooper finds a painting and a violin in the attic; takes them to an expert who says, ‘You’ve got a Stradivarius and a Rembrandt. Unfortunately Stradivarius was a terrible painter and Rembrandt made awful violins.

He Said. "David, you must remember that in all the functions we have in life, art is the one place where we can crash our plane and walk away from it". And that's so right. Creating something is the one area where you mustn't have caution or inhibition. If you make a startling, disastrous mess, it's fine, because you can reach out and reevaluate and plunge off into another direction. Bowie on Eno and art Interview Magazine September 1995

I’ve been labeled before. I’m supposed to be a jock and then a brain and then one of those music/theater people. I guess I like to keep surprising people. But what kind of life can you live in a tiny square box? My personality is less narrow. I like a lot of different things. But still, people like to be able to put you in a category, to be able to place you in even rows and put a sign at the front. They think the best you can achieve is being at the front of your row…but why not form your own row? Isn’t that the definition of being a leader? Maybe taking charge means something different nowadays. How come lately people think you’re a leader just because you happen to be at the front of the line? A good leader need only point the way and watch as others follow a direction, not a figure. A great leader can lead without anyone ever knowing it. A spectacular leader can lead without ever knowing it themselves. The person at the front of the line is the puppet of someone that you couldn’t name because someone else pointed the way. I must have missed something. I thought being a follower was letting other people shape your life. I thought it meant letting other people decide who you were going to be. I won’t conform. I won’t let people class me. Because once you’re there you’re stuck. I will be whoever I want to be, and no one can stop me. I have something they don’t have, which is nothing to lose. I have my entire life to live and I intend to live it the way I would like to live. I will form my own row. I will point in a new direction. If that means going against other peoples’ opinion of normal, then so be it. Who says normal is right? Normal certainly strikes me as a boring way to live my life.

I think records were just a little bubble through time and those who made a living from them for a while were lucky. There is no reason why anyone should have made so much money from selling records except that everything was right for this period of time. I always knew it would run out sooner or later. It couldn't last, and now it's running out. I don't particularly care that it is and like the way things are going. The record age was just a blip. It was a bit like if you had a source of whale blubber in the 1840s and it could be used as fuel. Before gas came along, if you traded in whale blubber, you were the richest man on Earth. Then gas came along and you'd be stuck with your whale blubber. Sorry mate – history's moving along. Recorded music equals whale blubber. Eventually, something else will replace it.

Trees, like people, struggle for existence, and an aged tree, like an aged person, has not only a striking appearance, but an interesting biography.

Books are made out of books.” — Cormac McCarthy Brian Eno, A Year With Swollen Appendices Steven Johnson, Where Good Ideas Come From David Byrne, How Music Works Mike Monteiro, Design Is a Job Kio Stark, Don’t Go Back to School Ian Svenonius, Supernatural Strategies for Making a Rock ‘n’ Roll Group Sidney Lumet, Making Movies P.T. Barnum, The Art of Money Getting

Colored like a sunset tide is a gaze sharply slicing through the reflective glass. A furrowed brow is set much too seriously, as if trying to unfold the pieces of the face that stared back at it. One eyebrow is raised skeptically, always calculating and analyzing its surroundings. I tilt my head trying to see the deeper meaning in my features, trying to imagine the connection between my looks and my character as I stare in the mirror for the required five minutes. From the dark brown hair fastened tightly in a bun, a curl as bright as woven gold comes loose. A flash of unruly hair prominent through the typical browns is like my temper; always there, but not always visible. I begin to grow frustrated with the girl in the mirror, and she cocks her hip as if mocking me. In a moment, her lips curve in a half smile, not quite detectable in sight but rather in feeling, like the sensation of something good just around the corner. A chin was set high in a stubborn fashion, symbolizing either persistence or complete adamancy. Shoulders are held stiff like ancient mountains, proud but slightly arrogant. The image watches with the misty eyes of a daydreamer, glazed over with a sort of trance as if in the middle of a reverie, or a vision. Every once and a while, her true fears surface in those eyes, terror that her life would amount to nothing, that her work would have no impact. Words written are meant to be read, and sometimes I worry that my thoughts and ideas will be lost with time. My dream is to be an author, to be immortalized in print and live forever in the minds of avid readers. I want to access the power in being able to shape the minds of the young and open, and alter the minds of the old and resolute. Imagine the power in living forever, and passing on your ideas through generations. With each new reader, a new layer of meaning is uncovered in writing, meaning that even the author may not have seen. In the mirror, I see a girl that wants to change the world, and change the way people think and reason. Reflection and image mean nothing, for the girl in the mirror is more than a one dimensional picture. She is someone who has followed my footsteps with every lesson learned, and every mistake made. She has been there to help me find a foothold in the world, and to catch me when I fall. As the lights blink out, obscuring her face, I realize that although that image is one that will puzzle me in years to come, she and I aren’t so different after all.

Usred svojih sanjarija iznenada se zaustavlja i grabeći me uzbuđeno za ruku pokazuje jednog kita od žene, koja upravo sjeda na stolicu. »Eno moje danske pičke«, gunđa on. »Vidiš li to dupe? Dansko. Kako ta žena to voli! Ona me naprosto moli da je okinem. Dođi ovamo... Pogledaj je sad, sa strane! Pogledaj to dupe, molim te. Golemo je. Kažem ti, kad se ona popne na mene, jedva mogu da ga obuhvatim rukama. Zakloni mi vidik na cijeli svijet. Osjećam se kao mala buba, koja gmiže u njoj. Ne znam sam zašto na nju padam — valjda zbog tog dupeta. Toliko je nezgrapno. A kakve ima samo nabore! Takvo dupe ne možeš zaboraviti. Stvarnost... opipljiva stvarnost. Druge ti mogu dodijati ili ti mogu dati trenutačnu iluziju, ali ova — s tim svojim dupetom! — ta je neuništiva... To je kao da u postelju ideš s kakvim spomenikom na sebi.« Str 111

I think one of the changes of our consciousness of how things come into being, of how things are made and how they work . . . is the change from an engineering paradigm, which is to say a design paradigm, to a biological paradigm, which is a cultural and evolutionary one. In lots and lots of areas now, people say, How do you create the conditions at the bottom to allow the growth of the things you want to happen?—Brian Eno

(...) comecei a me perguntar o que todo aquele papo sobre São Clemente tinha a ver conosco - como nos movemos no tempo, como o tempo se move através de nós, como mudamos e seguimos mudando e voltamos a ser os mesmos. É possível até mesmo envelhecer e não aprender nada a respeito disso. Essa era a lição do poeta, imagino. Daqui a mais ou enos um mês, quando eu voltar a Roma, ter estado aqui com Oliver esta noite parecerá totalmente irreal, como se tivesse acontecido com uma versão completamente diferente. E o desejo nascido três anos antes, quando o garoto de recados se ofereceu para me levar a um cinema barato famoso pelo que acontecia lá dentro, não me parecia menos realizado dali a três meses do que fora três anos antes. Veio. Foi. Nada mais tinha mudado. Eu não tinha mudado. O mundo não tinha mudado. Ainda assim, nada seria igual. Tudo que nos resta é o sonho e a estranha recordação.

And what a city! The perfect geometric layout, the wide avenues and clean sidewalks, all the monuments bathes in celestial light. The contemps around me hav eno idea how long it will take to rebuild something like this. Do they see the beauty around them? Are they dizzy from the heights on this pinnacle their civilization is teetering upon? No--they troop along, necks crooked into their ancient phones like bent marionettes. Their right cheeks glow.

It was Marx, with his love of avant-garde instrumental music, who played Brian Eno, John Cage, Terry Riley, Miles Davis, and Philip Glass on his CD player while Sadie and Sam worked. It was Marx who suggested they reread The Odyssey and The Call of the Wild and Call It Courage. He also had them read the story structure book The Hero’s Journey, and a book about children and verbal development, The Language Instinct. He wanted the pre-verbal Ichigo to feel authentic, to have details that came from life.

I opened the curtain and entered the confessional, a dark wooden booth built into the side wall of the church. As I knelt on the small worn bench, I could hear a boy's halting confession through the wall, his prescribed penance inaudible as the panel slid open on my side and the priest directed his attention to me. "Yes, my child," he inquired softly. "Bless me, Father, for I have sinned. This is my First Confession." "Yes, my child, and what sins have you committed?" .... "I talked in church twenty times, I disobeyed my mother five times, I wished harm to others several times, I told a fib three times, I talked back to my teacher twice." I held my breath. "And to whom did you wish harm?" My scheme had failed. He had picked out the one group of sins that most troubled me. Speaking as softly as I could, I made my admission. "I wished harm to Allie Reynolds." "The Yankee pitcher?" he asked, surprise and concern in his voice. "And how did you wish to harm him?" "I wanted him to break his arm." "And how often did you make this wish?" "Every night," I admitted, "before going to bed, in my prayers." "And were there others?" "Oh, yes," I admitted. "I wished that Robin Roberts of the Phillies would fall down the steps of his stoop, and that Richie Ashburn would break his hand." "Is there anything else?" "Yes, I wished that Enos Slaughter of the Cards would break his ankle, that Phil Rizzuto of the Yanks would fracture a rib, and that Alvin Dark of the Giants would hurt his knee." But, I hastened to add, "I wished that all these injuries would go away once the baseball season ended." ... "Are there any other sins, my child?" "No, Father." "For your penance, say two Hail Mary's, three Our Fathers, and," he added with a chuckle, "say a special prayer for the Dodgers. ...

Questions for U2: ‘What record would you like to make – i.e. how would you like this to be read? How would you like to get there? Does it bother you if the result is ‘undemocratic’? How much cheating is allowed? How much me?’ Lincoln’s axe: ‘This is Lincoln’s original axe. The head has been replaced three times and the handle twice.

On the end of an era "I think records were just a little bubble through time and those who made a living from them for a while were lucky. There is no reason why anyone should have made so much money from selling records except that everything was right for this period of time. I always knew it would run out sooner or later. It couldn't last, and now it's running out. I don't particularly care that it is and like the way things are going. The record age was just a blip. It was a bit like if you had a source of whale blubber in the 1840s and it could be used as fuel. Before gas came along, if you traded in whale blubber, you were the richest man on Earth. Then gas came along and you'd be stuck with your whale blubber. Sorry mate – history's moving along. Recorded music equals whale blubber. Eventually, something else will replace it.

Yesterday, before the meeting with U2, I took the precaution of putting tiny sections of each of the 44 pieces of music we have in hand on to a single tape. All this means is that when somebody says ‘Drum Loop 14’ and someone else says ‘Which one was that?’ I can readily go to it without having to change tapes (which takes only a few more seconds but is annoying). This little precaution (which however took me nearly three hours to put together beforehand) expedited the whole thing so much, and changed the whole quality of the decisions being made. I tend to spend more and more of my time thinking how to set up situations so that they work – so that they can actually take less and less time. My ideal is probably based on that story I heard years ago of how the Japanese calligraphers used to work – a whole day spent grinding inks and preparing brushes and paper, and then, as the sun begins to go down, a single burst of fast and inspired action.

Records made ‘at one sitting’ sound so fresh now – because the rate of discovery and the emotional tempo match those of the listener. What’s infuriating, though, is how fragile those fabrics are. I’ve noticed that, trying to work on improvisations that have ‘something’, they very quickly dissolve into nothing the more attention they get. It’s almost like trying to reconstruct a very funny dinner party – you had to be there, and it’s impossible to isolate the chemistry of what really made it work.

Občutek imam, da prav nobena reč ne teče prav. Eno živimo na ven, drugo naznotraj; nobenega soglasja ni med obema vrstama življenja. Prav nič čudno ni, če nihče nikogar res ne spozna. Resnične podobe ljudi so neujemljive. Nihče ne spozna samega sebe, in še tisto kar je spoznal, skrbno skriva pred okolico. V tej omiki je vsakogar nekako usodno strah pred samim seboj in pred drugimi. Naslikamo si nekakšno čedno pročelje in ga kažemo svetu; zadaj, kaj pa je zadaj? Če že ne cel zverinjak naglavnih grehov - pa vsekakor nekaj drugačnega. Duh plaho prhuta med duhovi živih in mrtvih, telo rožlja po svetu v pisani opravi. Indijanci se poslikajo z barvami, mi z vrlinami. Potem se napijemo, pobesnimo, znorimo, povaljamo se po lastnem blatu; zbežimo v svoj brlog in spet nas je sram, kesamo se, izpovedujemo se, ližemo si rane. Ker nikoli nikjer ne moremo in ne smemo biti taki, kakor res smo. Od rojstva do smrti. Ena sama krinka, eno samo poslikano pročelje, eno samo sprenevedanje, eno samo poučevanje, ena sama tuja igra.

Moses my servant is dead. Now therefore arise, go over this Jordan, you and all this people, into the land that I am giving to them, to the people of Israel. 3 cEvery place that the sole of your foot will tread upon I have given to you, just as I promised to Moses. 4 dFrom the wilderness and this Lebanon as far as the great river, the river Euphrates, all the land of the Hittites to the Great Sea toward the going down of the sun shall be your territory. 5 eNo man shall be able to stand before you all the days of your life. Just  fas I was with Moses, so  gI will be with you.  hI will not leave you or forsake you. 6 iBe strong and courageous, for you shall cause this people to inherit the land that I swore to their fathers to give them. 7Only be strong and  jvery courageous, being careful to do according to all the law  kthat Moses my servant commanded you.  lDo not turn from it to the right hand or to the left, that you may have good success [1] wherever you go. 8This Book of the Law shall not depart from your mouth, but  myou shall meditate on it day and night, so that you may be careful to do according to all that is written in it. For then you will make your way prosperous, and then you will have good success. 9Have I not commanded you?  nBe strong and courageous.  oDo not be frightened, and do not be dismayed, for the LORD your God is with you wherever you go.

JOSHUA 1 After the death of Moses the  aservant of the LORD, the LORD said to Joshua the son of Nun, Moses’  bassistant, 2“Moses my servant is dead. Now therefore arise, go over this Jordan, you and all this people, into the land that I am giving to them, to the people of Israel. 3 cEvery place that the sole of your foot will tread upon I have given to you, just as I promised to Moses. 4 dFrom the wilderness and this Lebanon as far as the great river, the river Euphrates, all the land of the Hittites to the Great Sea toward the going down of the sun shall be your territory. 5 eNo man shall be able to stand before you all the days of your life. Just  fas I was with Moses, so  gI will be with you.  hI will not leave you or forsake you. 6 iBe strong and courageous, for you shall cause this people to inherit the land that I swore to their fathers to give them. 7Only be strong and  jvery courageous, being careful to do according to all the law  kthat Moses my servant commanded you.  lDo not turn from it to the right hand or to the left, that you may have good success [1] wherever you go. 8This Book of the Law shall not depart from your mouth, but  myou shall meditate on it day and night, so that you may be careful to do according to all that is written in it. For then you will make your way prosperous, and then you will have good success. 9Have I not commanded you?  nBe strong and courageous.  oDo not be frightened, and do not be dismayed, for the LORD your God is with you wherever you go.

Studentdom, he felt, must pass its own Examinations and define its own Commencement--a slow, most painful process, made the more anguishing by bloody intelligences like the Bonifacists of Siegfrieder College. Yet however it seemed at times that men got nowhere, but only repeated class by class the mistakes of their predecessors, two crucial facts about them were at once their hope and the limitation of their possibility, so he believed. One was their historicity: the campus was young, the student race even younger, and by contrast with the whole of past time, the great collegiate cultures had been born only yesterday. The other had to do with comparative cyclology, a field of systematic speculation he could not review for me just then, but whose present relevance lay in the correspondency he held to obtain between the life-history of individuals and the history of studentdom in general. As the embryologists maintained that ontogeny repeats phylogeny, so, Max claimed, the race itself--and on a smaller scale, West-Campus culture--followed demonstrably--in capital letters, as it were, or slow motion--the life-pattern of its least new freshman. This was the basis of Spielman's Law--ontogeny repeats cosmogeny--and there was much more to it and to the science of cyclology whereof it was first principle. The important thing for now was that, by his calculations, West-Campus as a whole was in mid-adolescence... 'Look how we been acting,' he invited me, referring to intercollegiate political squabbles; 'the colleges are spoilt kids, and the whole University a mindless baby, ja? Okay: so weren't we all once, Enos Enoch too? And we got to admit that the University's a precocious kid. If the history of life on campus hadn't been so childish, we couldn't hope it'll reach maturity.' Studentdom had passed already, he asserted, from a disorganized, pre-literate infancy (of which Croaker was a modern representative, nothing ever being entirely lost) through a rather brilliant early childhood ('...ancient Lykeion, Remus, T'ang...') which formed its basic and somewhat contradictory character; it had undergone a period of naive general faith in parental authority (by which he meant early Founderism) and survived critical spells of disillusionment, skepticism, rationalism, willfulness, self-criticism, violence, disorientation, despair, and the like--all characteristic of pre-adolescence and adolescence, at least in their West-Campus form. I even recognized some of those stages in my own recent past; indeed, Max's description of the present state of West-Campus studentdom reminded me uncomfortably of my behavior in the Lady-Creamhair period: capricious, at odds with itself, perverse, hard to live with. Its schisms, as manifested in the Quiet Riot, had been aggravated and rendered dangerous by the access of unwonted power--as when, in the space of a few semesters, a boy finds himself suddenly muscular, deep-voiced, aware of his failings, proud of his strengths, capable of truly potent love and hatred--and on his own. What hope there was that such an adolescent would reach maturity (not to say Commencement) without destroying himself was precisely the hope of the University.

I became expert at making myself invisible. I could linger two hours over a coffee, four over a meal, and hardly be noticed by the waitress. Though the janitors in Commons rousted me every night at closing time, I doubt they ever realized they spoke to the same boy twice. Sunday afternoons, my cloak of invisibility around my shoulders, I would sit in the infirmary for sometimes six hours at a time, placidly reading copies of Yankee magazine ('Clamming on Cuttyhunk') or Reader's Digest (Ten Ways to Help That Aching Back!'), my presence unremarked by receptionist, physician, and fellow sufferer alike. But, like the Invisible Man in H. G. Wells, I discovered that my gift had its price, which took the form of, in my case as in his, a sort of mental darkness. It seemed that people failed to meet my eye, made as if to walk through me; my superstitions began to transform themselves into something like mania. I became convinced that it was only a matter of time before one of the rickety iron steps that led to my room gave and I would fall and break my neck or, worse, a leg; I'd freeze or starve before Leo would assist me. Because one day, when I'd climbed the stairs successfully and without fear, I'd had an old Brian Eno song running through my head ('In New Delhi, 'And Hong Kong,' They all know that it won't be long...'), I now had to sing it to myself each trip up or down the stairs. And each time I crossed the footbridge over the river, twice a day, I had to stop and scoop around in the coffee-colored snow at the road's edge until I found a decent-sized rock. I would then lean over the icy railing and drop it into the rapid current that bubbled over the speckled dinosaur eggs of granite which made up its bed - a gift to the river-god, maybe, for safe crossing, or perhaps some attempt to prove to it that I, though invisible, did exist. The water ran so shallow and clear in places that sometimes I heard the dropped stone click as it hit the bed. Both hands on the icy rail, staring down at the water as it dashed white against the boulders, boiled thinly over the polished stones, I wondered what it would be like to fall and break my head open on one of those bright rocks: a wicked crack, a sudden limpness, then veins of red marbling the glassy water. If I threw myself off, I thought, who would find me in all that white silence? Might the river beat me downstream over the rocks until it spat me out in the quiet waters, down behind the dye factory, where some lady would catch me in the beam of her headlights when she pulled out of the parking lot at five in the afternoon? Or would I, like the pieces of Leo's mandolin, lodge stubbornly in some quiet place behind a boulder and wait, my clothes washing about me, for spring?

On a break from the tour, I went south to Bali, a place the choreographer Toni Basil, whom Eno and I had met during the Bush Of Ghosts sessions, had recommended as being transporting and all about performance. I rented a small motorcycle and headed up into the hills, away from the beach resort. I soon discovered that if one saw offerings of flowers and fruit being brought to a village temple compound in the afternoon, one could be pretty certain that some sort of ritual performance would follow there at night. Sure enough, night after night I would catch dances accompanied by gamelan orchestras and shadow-puppet excerpts from the Hindu Ramayana--epic and sometimes ritual performances that blended religious and theatrical elements. (A gamelan is a small orchestra made up mainly of tuned metallic gongs and xylophone-like instruments--the interplay between the parts is beautiful and intricate.) In these latter events some participants would often fall into a trance, but even in trance there were prescribed procedures. It wasn't all thrashing chaos, as a Westerner might expect, but a deeper kind of dance. As In Japanese theater, the performers often wore masks and extreme makeup; their movements, too, were stylized and "unnatural." It began to sink in that this kind of "presentational" theater has more in common with certain kinds of pop-music performance that traditional Western theater did. I was struck by other peripheral aspects of these performances. The audiences, mostly local villagers of all ages, weren't paying attention half the time. People would wander in and out, go get a snack from a cart or leave to smoke a bidi cigarette, and then return to watch some more. This was more like the behavior of audiences in music clubs than in Western theaters, where they were expected to sit quietly and only leave or converse once the show was over. The Balinese "shows" were completely integrated into people's daily lives, or so it seemed to me. There was no attempt to formally separate the ritual and the show from the audience. Everything seemed to flow into everything else. The food, the music, and the dance were all just another part of daily activity. I remembered a story about John Cage, who, when in Japan, asked someone what their religion was. The reply was that they didn't have a strict religion--they danced. Japanese do, of course, have Buddhist and Shinto rituals for weddings, funerals, and marriages, but a weekly thing like going to church or temple doesn't exist. The "religion" is so integrated into the culture that it appears in daily gestures and routines, unsegregated for ordinary life. I was beginning to see that theatricality wasn't necessarily a bad thing. It was part of life in much of the world, and not necessarily phony either.

Nasred trga, oko Piramide Napoleonove, vrte se sjajni automobili. Ne zato što tehnika napreduje, nego je to uspomena na karusele. Ta sjajna zvezda vrtloga dovoljna je da ceo grad zavoli vrtlog zvezda. Šare na stubu, koji kao kameni mač strši iz zemlje, sa gotskom oštrinom, niko ne može da pročita. Kamene žene, koje predstavljaju složne francuske gradove, uzalud čitaju. U njihovim očima, sa kojih kaplje kiša, zjapi samo ironija kamena u noći. Dani prolaze, i svaki vrši svoj posao. Ban Jelačić, na konju, sred Zagreba, pokazuje mačem na Mađarsku, i zaboravlja da spusti ruku. Dositej elegantno skida šešir, i ulazi sa Kalemegdana u hotel „Krunu“, a nikako da uđe. Da, da, ja „futurista“ imam osećaj da se uopšte, negde u svemiru, nešto skamenilo, i da nikako neće ući u hotel. Hijeroglifi mirno stoje, automobili se vrte i jure oko njih, a nikako da ih pročitaju. Kiša sipa, sitna, beskrajna - no to ne treba nikog da uznemiruje. Eno Madlen, posuta helenskom limunadom, stoji, sva crna, u noći – seća se izginulih vojnika Velike armije za koje je zidana, i misli na otmene svadbe koje su, u njoj, češće nego otmena krštenja. Dva velika, zažarena oka Orleanske stanice gledaju mirno u Senu. Da, samo sam ja patetičan, noći je svejedno. Pobesneli konji spomenika na Gran Paleu hoće da skoče dole. Poda mnom, duboko, u zemlji, ispod Sene, jure vozovi, a kraj mene prolaze zagrljeni parovi, i protrčavaju mačke. U Carigradu vole pse, ovde mačke. Ljubav je večna, beskrajna, i opšta. Svi su parovi jednaki, i sve mačke crne. Neka vas ne vređa sve ovo. U Čikagu ima jedan pesnik, optimista, on peva i slavi velike gradove, ogroman život, i večno, zaljubljeno čovečanstvo. Ja, mada sam civilizovan, kao i ostali naši književnici, i ne bih prevrnuo čašu na dvorskom ručku, ipak, gledam ove mokre, ogromne konture sa mnogo manje divljenja. Potomak pastira, sa malo razumljive afektacije, znam da su plavi zidovi nebesa ogromniji; vidim zvezdane površine reka, šuma i gora, i osećam da ću jednom, teškim korakom, hodati po njima, davno zaboravivši sve ovo. Oprostite što teško prelazim na stvar. Sve te zamršene misli jure po glavi, iz kineskih pesama, iz knjiga o gotici. Ta vi znate da nema Srbina koji može zamisliti da neko i kod nas može šta zamisliti. U detinjstvu smo odrasli sa konturama Bocarećeva Šarca, i sa divnom konturom Saborne crkve, a sad smo klasičari, kosmičari, kubiste, radikali, već kako ko – pa je malo teško. Zar ne ? Ipak, ja sam ovde, umoran i prokisao, samo zato da vam javim da se, već jednom, opet setite večnosti. U ogromnim ovim vrtovima i širinama, pod granjem mokrim, koje znam da je počelo da pupi, ovde gde je Pariz najlepši, zastajem da vam javim – pre nego što vam počnem pisati o parlamentima, Evropi, izložbama, Srbima na Sen Mišelu – da zaboravite već jednom sve, da se opet jednom, bezbrižni, setite večnosti. Stojim visoko. Dubina mosta d'Jena, koja se beli i sjaji od kiše, i prolazi ispod čudovišta Ajfelova, odvodi u beskraj. Nigde na svetu nije ovako duboka voda i ovako široko nebo. Veliki vrtovi u kojima cvetaju svetiljke, zelene, žute i crvene; njino svetlucanje u vodama, polako diže ceo Pariz u providan, jutarnji zrak. Kiša se jedva oseća. Prvi tramvaji prolaze. Daleko, u stajaćoj, širokoj vodi, suro, kao neka galija čuvarica u luci, sa svojim crvenim svetiljkama, ljulja se ostrvo Pariza, sa starim zidovima i gotskim kulama. Nad Notrdamom se vedri, trepere pobledele zvezde, kao iskre bežičnog brzojava. Oni javljaju da dolazi proleće.

with the KABIRI. And we have shown that the latter were the same as the Manus, the Rishis and our Dhyan Chohans, who incarnated in the Elect of the Third and Fourth Races. Thus, while in Theogony the Kabiri-Titans were seven great gods: cosmically and astronomically the Titans were called Atlantes, because, perhaps, as Faber says, they were connected (a) with At-al-as "the divine Sun," and (b) with tit "the deluge." But this, if true, is only the exoteric version. Esoterically, the meaning of their symbols depends on the appellation, or title, used. The seven mysterious, awe-inspiring great gods—the Dioscuri,[420] the deities surrounded with the darkness of occult nature—become the Idei (or Idaeic finger) with the adept-healer by metals. The true etymology of the name lares (now signifying "ghosts") must be sought in the Etruscan word "lars," "conductor," "leader." Sanchoniathon translates the word Aletae as fire worshippers, and Tabor believes it derived from Al-Orit, "the god of fire." Both are right, as in both cases it is a reference to the Sun (the highest God), toward whom the planetary gods "gravitate" (astronomically and allegorically) and whom they worship. As Lares, they are truly the Solar Deities, though Faber's etymology, who says that "lar" is a contraction of "El-Ar," the solar deity, is not very correct. They are the "lares," the conductors and leaders of men. As Aletae, they were the seven planets -- astronomically; and as Lares, the regents of the same, our protectors and rulers—mystically. For purposes of exoteric or phallic worship, as also cosmically, they were the Kabiri, their attributes being recognised in these two capacities by the name of the temples to which they respectively belonged, and those of their priests. They all belonged, however, to the Septenary creative and informing groups of Dhyan Chohans. The Sabeans, who worshipped the "regents of the Seven planets" as the Hindus do their Rishis, held Seth and his son Hermes (Enoch or Enos) as the highest among the planetary gods. Seth and Enos were borrowed from the Sabeans and then disfigured by the Jews (exoterically); but the truth can still be traced about them even in Genesis.[421] Seth is the "progenitor" of those early men of the Third Race in whom the "Planetary" angels had incarnated—a Dhyan Chohan himself, who belonged to the informing gods; and Enos (Hanoch or Enoch) or Hermes, was said to be his son—because it was a generic name for all the early Seers ("Enoichion"). Thence the worship. The Arabic writer Soyuti says that the earliest records mention Seth, or Set, as the founder of Sabeanism; and therefore that the pyramids which embody the planetary system were regarded as the place of sepulchre of both Seth and Idris (Hermes or Enoch), (See Vyse, "Operations," Vol. II., p. 358); that thither Sabeans proceeded on pilgrimage, and chanted prayers seven times a day, turning to the North (the Mount Meru, Kaph, Olympus, etc., etc.) (See Palgrave, Vol. II., p. 264). Abd Allatif says curious things about the Sabeans and their books. So does Eddin Ahmed Ben Yahya, who wrote 200 years later. While the latter maintains "that each pyramid was consecrated to a star" (a star regent rather), Abd Allatif assures us "that he had read in Sabean books that one pyramid was the tomb of Agathodaemon and the other of Hermes" (Vyse, Vol. II., p. 342). "Agathodaemon was none other than Seth, and, according to some writers, Hermes was his son," adds Mr. Staniland Wake in "The Great Pyramid," p. 57. Thus, while in Samothrace and the oldest

I had grown up on Folkway's Nonesuch field recordings and the stuff Lomax had done for the Library of Congress, but the production values on the Ocora releases were on a whole other level. Eno and I realized that music from elsewhere didn't need to sound distant, scratchy, or 'primitive.' These recordings were as well produced as any contemporary recordings in any genre. You were made to feel, for example, that this music wasn't a ghostly remnant form some lost culture, soon to be relegated to the almost forgotten past. It was vital, and it was happening right now. To us there was strange beauty there, deep passion, and the compositions often operated by rules and structures that were radically different from what we were used to. As a result, our limited ideas of what constituted music were exploded forever. These recordings opened up myriad ways that music could be made and organized. There were many musical universes out there, and we had been blinkered by confining ourselves to only one.

as if it were the equal of Western classical or art music. The recordings were given respect, thoughtful presentation, and technical attention that was all too rare for non-Western music. I had grown up on Folkways’s Nonesuch field recordings and the stuff Lomax had done for the Library of Congress, but the production values on the Ocora releases were on a whole other level. Eno and I realized that music from elsewhere didn’t need to sound distant, scratchy, or “primitive.” These recordings were as well produced as any contemporary recording in any genre. You were made to feel, for example, that this music wasn’t a ghostly remnant from some lost culture, soon

Un mét odo extr emadamente bu eno p ara adquir ir el control mental es sentarse con el tronco erguido y aspirar una respiración completa de limpieza. Después, aspire a razón de uno, cuatro, dos. Es decir ( ¡ hablemos ahora de segundos para cambiar ! ), aspire durante cinco segundos, luego retenga la respiración durante cuatro veces cinco segundos, o sea, veinte segundos. Cuando haya hecho esto, expulse el aire durante diez segundos. Respirando adecua damente podrá usted librarse de muchos padecimientos, y éste es un método excelente.

Jednog dana, pisac otkriva da nije više u stanju ništa da napiše. Šta god pokuša, kojim god putem krene, ne uspeva da stigne do celovite rečenice. U prvi mah, pisac se ne predaje i pokušava bezbroj puta da sastavi makar jednu prihvatljivu rečenicu, ali reči se odupiru, odbijaju da ga slušaju ili se uopšte ne odazivaju na njegove usplahirene pozive, i pisac polako popušta, diže ruke, pravi se da je nezainteresovan, nadajući se da će se reči prevariti i doći da vide šta je s njim, zašto ga nema. Ali reči su lukave, reči su prošle sito i rešeto i ne pada im na kraj pameti da se liše novostečene slobode. I dok one veselo trče i dobacuju se uskličnicima, pisac pomišlja da postane mimičar. Ali ni tamo ga ne primaju, odvratni su im onemeli pisci, i tako piscu ne preostaje ništa drugo nego da se zaposli u zoološkom vrtu. I eno, tamo je, hrani pingvine. (Pisac bez reči)

Eno again: “I know he liked Another Green World a lot, and he must have realised that there were these two parallel streams of working going on in what I was doing, and when you find someone with the same problems you tend to become friendly with them.” Another Green World (1975) has a different feel to Low, but it deploys some of the same strategies. It mixes songs that have recognisable pop structures with other, short, abstract pieces that Eno called “ambient”—with the emphasis not on melody or beat, but on atmosphere and texture. These intensely beautiful fragments fade in then out, as if they were merely the visible part of a vast submarine creation; they are like tiny glimpses into another world. On the more conventional tracks, different genres juxtapose, sometimes smoothly, sometimes not—jazzy sounds cohering with pop hooks but struggling against intrusive synthetic sound effects. The end result is a moodily enigmatic album of real power and ingenuity. One structural difference between the two albums, though, is that while Eno interspersed the “textural” pieces across Another Green World, Bowie separated them out and put them on another side, which provides Low with a sort of metanarrative.

It seemed as if Muzak had sucked the soul out of the songs, but in fact they had created something entirely new, something close to what Satie imagined: furniture music, music that was clearly a useful and (to their subscribers) functional part of the environment, there to induce calm and tranquility in their shops and offices. Why is it that Satie’s compositions, Brian Eno’s ambient music, or the minimal spaced-out

Meekness does not vaunt itself, and does not seek to avoid criticism. The meek never confuse their personal pride with the Lord’s will or work.

None of us is absolutely captive by our times. We are all free to receive everything God offers. It does not matter if your teachers, your friends, or your culture all fail to live up to the conditions which allow God to reveal Himself to them. Each one of us is still free to walk the path back to the presence of God, just as Enos did. For

Order can often be imposed by using fear, but exaltation springs from love. What motivates you? Enos

We cannot find truth apart from Christ. Therefore, if you intend to preach of truth you are inevitably drawn to “the truth which is in Christ.” All truth, as all light, originates from Christ.72

It was through this sacrifice, and this only, that God has ordained that men should enjoy eternal life; and it is through the medium of the sacrifice of all earthly things that men do actually know that they are doing the things that are well pleasing in the sight of God. When a man has offered in sacrifice all that he has for the truth’s sake, not even withholding his life, and believing before God that he has been called to make this sacrifice because he seeks to do his will, he does know, most assuredly, that God does and will accept his sacrifice and offering, and that he has not, nor will not seek his face in vain. Under these circumstances, then, he can obtain the faith necessary for him to lay hold on eternal life. 8.

This misery is the natural result of disappointment in choosing the world over eternal life.

They never believe themselves to be more than a poor instrument in the hands of an Almighty God.

They never confuse magnifying a calling with their responsibility to use only meekness, love unfeigned, pure knowledge and persuasion. For such individuals the service they render supercedes any need for personal recognition. Even though they may occupy a position of honor, they do not tolerate personal praise or devotion to themselves. Such men use their authority to honor God, and never themselves. We find very few meek men. Enos was one. Enos

In addition to describing the ancient practices of an apostate people, Enos must have had a prophetic lesson in mind for us. What do we see today as a modern manifestation of these kinds of idolatrous practices? Are there those of us who seize upon traditions rather than upon the Gospel of Christ? Do some of us choose to follow a pattern laid down by traditions while ignoring requirements found in the Gospel? Do some of us practice strange dietary regimens as part of wrongly held religious beliefs? Are there those among us who believe martial arts are a higher form of religious pratice? Who can say Enos isn’t speaking to us about our behavior in leaving this record. It would be a mistake to think he wrote only to preserve strange practices from the past without a concern for us as the future audience of his record. It would also be a mistake not to reconsider your own beliefs and practices to see if Enos was warning you.

The testimony of Jesus is the spirit of prophecy. (Rev. 19: 10.) We should encounter many prophets and prophetesses among any group of believers who claim to be Saints. When we do not, it is likely because our claims to sainthood have not been mirrored by living the life of a Saint. Enos

These conditions are universal. Reputation, social standing, popularity and success must be burnt on the altar as a sacrifice before any person can learn they have eternal life. Since our lives are going to be lost anyway - and all the world has to offer will be meaningless - the trade is illusory. We are asked to give up what has never been ours to keep. This

It is not the importance of the position held by a man, nor the wealth he accumulates, nor the political power held, nor the religious position he attains during his life which makes a life memorable. It is the words of truth,

the testimony of Christ, which persist and make a life significant. It is fidelity to Christ and teaching of Him which makes any of us significant. The

Sprostite se v odnosih. Obstajajo zato, da vam pomagajo ciljati visoko in uresničevati velike stvari, za katere ste se rodili; da vas spomnijo, kako razmišljati na veliko in s tem ustvarjati na veliko; da vas spomnijo, da na koncu šteje le eno - da se ne zatikate ob malenkosti, temveč si drznete živeti.

When organized into separate personalities, the intelligence changes from the singular to the plural. With this change comes creation (or organization) and as a result, mankind came into being. Joseph further reveals that in order to exist we had to have the freedom to choose. Without that freedom we would not exist at all. We would still be singular, uncreated and without an existence. “All truth is independent in that sphere in which God has placed it, to act for itself, as all intelligence also; otherwise there is no existence.” (D&C 93: 30, emphasis added.) There is no existence unless we are free (and able) to choose for ourselves. Our

From this second estate we all gain faith in our separate existence. Some of us will go on to develop faith sufficient to finally become self-existent beings. That is, some few will develop the faith necessary to do as all the gods have done before and to exist in our own right, under the power of our own faith, through the grace shown us by God. Without

Self-existence flows from conforming to the purity of holiness to which all gods conform. If we are unholy, we are unworthy. We cannot contradict the light from which we originated. The great Plan of Happiness, the Gospel of Jesus Christ, the commandments, the rites, the ordinances of God (whatever terms you use to describe them) are all designed to teach us the way to conform to the perfect faith and grow in light until the perfect day. They are the path which has been taken by all of the gods.

•   Solitary setting in the forest, suggesting Eden        •   Contact between him and Deity        •   A conversation between God and man        •   Reference to animal sacrifice        •   A reminder of eternal life and the joy of the saints        •   Bestowal of a new name The

•   Solitary setting        •   Contact with Deity        •   An embrace between God and man        •   Reference to his sinews and loins        •   Bestowal of a new name The

Enos is on a quest. He tells us what his quest involves. He is seeking after “eternal life, and the joy of the saints.” Enos

As Enos succeeds in aligning the things of heaven with the things of earth, the veil dividing these two moves apart. In response to his petition “there came a voice unto me, saying: Enos, thy sins are forgiven thee, and thou shalt be blessed.” Enos’ wrestle has succeeded. He has come to the veil hiding the pavilion of God, knocked in the proper way, and been admitted. He

These blind guides were unable to see who it was speaking to them. Such is the irony frequently apparent when the religious interact with the Lord’s chosen. James

1st key: Knowledge is the power of salvation. 2nd key: Make your calling and election sure. 3rd key: It is one thing to be on the mount and hear the excellent voice, etc., and another to hear the voice declare to you, You have a part and lot in that kingdom.” (TPJS.)

I WAS ARRESTED IN ENO’S DINER. AT TWELVE O’CLOCK. I was eating eggs and drinking coffee. A late breakfast, not lunch. I was wet and tired after a long walk in heavy rain. All the way from the highway to the edge of town. The

While Bowie was the great photogenic pop icon, his work about characters and masks, Eno’s art was in disappearance: ‘… Eno’s object was to eliminate himself from his work, to minimise his “degree of participation”, to cleanse his art of the idea of the individual artist,’ wrote Simon Frith and Howard Horne in their book Art Into Pop. Eno was interested in systems music, music that almost played itself and followed repetitive patterns. Bowie was interested in dramatic gestures and melodic sweeps.

Eno’s cards contained such directives as ‘Listen to the quiet voice’, ‘Fill every beat with something’, ‘Emphasize the flaws’, ‘Mute and continue’ and ‘Use an unacceptable colour’. One of Eno’s most apposite maxims was ‘Honour thy error as a hidden intention’. During the recording of the Bowie/Eno triptych (Low, “Heroes” and Lodger), mistakes, chance and random influences were to be built into the compositional processes as if they had been intended.

Meekness means a person voluntarily restrains themselves to exercise the absolute minimum control or authority over others.

[W]hen the Church lost revelation it had to turn to another source for guidance and so threw itself into the arms of the established schools of learning. The schoolmen, as one of them expresses it, took over the office and function once belonging to the prophets and once in power guarded their authority with jealous care, quickly and violently suppressing any suggestion of a recurrent inspiration.…By its very nature the university is the rival of the Church; its historic mission has been to supply the guiding light which passed away with the loss of revelation, and it can make no concessions to its absolute authority without forfeiting that authority.

He gives freely. But unless we are quiet enough, open enough, and prayerful enough to be apart, to be alone, to be in solemn, careful and ponderous thought, we will never receive what is freely given to all.

One of the methods that he and Bowie used on Low was the “Oblique Strategies” he’d created with artist Peter Schmidt the year before. It was a deck of cards, and each card was inscribed with a command or an observation. When you got into a creative impasse, you were to turn up one of the cards and act upon it. The commands went from the sweetly banal (“Do the washing up”) to the more technical (“Feedback recordings into an acoustic situation”; “The tape is now the music”). Some cards contradict each other (“Remove specifics and convert to ambiguities”; “Remove ambiguities and convert to specifics”). Some use Wildean substitution (“Don’t be afraid of things because they’re easy to do”). And several veer towards the Freudian (“Your mistake was a hidden intention”; “Emphasise the flaws”). The stress is on capitalising on error as a way of drawing in randomness, tricking yourself into an interesting situation, and crucially leaving room for the thing that can’t be explained—an element that every work of art needs. Did the Oblique Strategy cards actually work? They were probably more important symbolically than practically. A cerebral theoretician like Eno had more need of a mental circuit-breaker than someone like Bowie, who was a natural improviser, collagiste, artistic gadfly. Anyone involved in the creative arts knows that chance events in the process play an important role, but to my mind there’s something slightly self-defeating about the idea of “planned accidents.” Oblique Strategies certainly created tensions, as Carlos Alomar explained to Bowie biographer David Buckley: “Brian Eno had come in with all these cards that he had made and they were supposed to eliminate a block. Now, you’ve got to understand something. I’m a musician. I’ve studied music theory, I’ve studied counterpoint and I’m used to working with musicians who can read music. Here comes Brian Eno and he goes to a blackboard. He says: ‘Here’s the beat, and when I point to a chord, you play the chord.’ So we get a random picking of chords. I finally had to say, ‘This is bullshit, this sucks, this sounds stupid.’ I totally, totally resisted it. David and Brian were two intellectual guys and they had a very different camaraderie, a heavier conversation, a Europeanness. It was too heavy for me. He and Brian would get off on talking about music in terms of history and I’d think, ‘Well that’s stupid—history isn’t going to give you a hook for the song!’ I’m interested in what’s commercial, what’s funky and what’s going to make people dance!” It may well have been the creative tension between that kind of traditionalist approach and Eno’s experimentalism that was more productive than the “planned accidents” themselves. As Eno himself has said: “The interesting place is not chaos, and it’s not total coherence. It’s somewhere on the cusp of those two.

One of the songs which certainly impacted greatly in the summer of 1977 was a song which sounded as if Kraftwerk had gone potty and recruited a bona fide American soul singer. In fact, it wasn’t Kraftwerk, but Italian musician and producer Giorgio Moroder. ‘One day in Berlin,’ says Bowie, ‘Eno came running in and said, “I have heard the sound of the future.” … He puts on “I Feel Love”, by Donna Summer … He said, “This is it, look no further. This single is going to change the sound of club music for the next 15 years.” Which was more or less right.