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Loydell, Rupert 
ORCID: https://orcid.org/0000-0003-2730-8489 and Marshall, Kingsley ORCID: https://orcid.org/0000-0002-2518-7305
(2017)
Sound Mirrors: Brian Eno & Touchscreen Generative Music.
Musicology Research, 3 (Autumn).
pp. 27-50.
ISSN 2515-981X
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Abstract / Summary
‘In total darkness, or in a very large room, very quietly’ (Eno & Schmidt, 1979)
It is time for a reconsideration of Eno’s visual projects. This article considers how Eno has used simple but innovative ideas, programmes and processes to inform his films, apps and installation work, and how they have been disseminated. Avoiding spectacle, noise and complexity, Eno and his collaborators, has produced an array of intriguing and engaging 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’ (2013).
Collaborators 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 informed Eno’s creative output. They use Eno’s words, drawn from interviews and his own writing, 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 a card selected from the third edition of the Oblique Strategies deck issued in 1979.
| Item Type: | Article |
|---|---|
| ISSN: | 2515-981X |
| Subjects: | Film & Television Research Performing Arts > Music & Sound Computing & Data Science Communication > Creative Writing Communication > Journalism |
| Courses by Department: | The School of Communication |
| Related URLs: | |
| Depositing User: | Rupert Loydell |
| Date Deposited: | 22 Nov 2017 15:24 |
| Last Modified: | 18 Nov 2024 15:06 |
| URI: | https://repository.falmouth.ac.uk/id/eprint/2727 |
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