. Website Brian Peter George St John le Baptiste de la Salle Eno, (; born Brian Peter George Eno, 15 May 1948) is an English musician, record producer, and visual artist.
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He is best known for his pioneering work in and contributions to,. A self-described 'non-musician', Eno has helped introduce a variety of conceptual approaches and recording techniques to contemporary music, advocating a methodology of 'theory over practice, serendipity over forethought, and texture over craft' according to. He has been described as one of 's most influential and innovative figures.
Born in, Eno studied painting and at the art school at Ipswich Civic College in the mid 1960s and then at. He joined group as player in 1971. After recording two albums with Roxy Music, he departed in 1973 to record a number of solo albums, coining the term 'ambient music' to describe his work on releases such as (1975), (1975), and (1978).
He also collaborated with artists such as, on his ', and, and albums by artists including, and, and the compilation (1978). Eno has continued to record solo albums and work with artists including,. Dating back to his time as a student, he has also worked in media including and his mid-70s co-development of, a deck of cards featuring cryptic aphorisms intended to spur. From the 1970s onwards, Eno's installations have included the sails of the in 2009 and the at in 2016. An advocate of a range of humanitarian causes, Eno writes on a variety of subjects and is a founding member of the. This section of a needs additional for. Please help by adding.
Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially or harmful. ( December 2018) 1970s Eno's professional music career began in London when he became a founder member (1971–1973) of the / band Roxy Music. Initially Eno did not appear on stage at their live shows, but operated the, processing the band's sound with a synthesiser and tape recorders, and singing.
He did, however, eventually appear on stage as a performing member of the group, usually flamboyantly costumed. He quit the band on completing the promotional tour for the band's second album, because of disagreements with lead singer and boredom with the rock star life.
In 1992, he described his Roxy Music tenure as important to his career: 'As a result of going into a subway station and meeting saxophonist , I joined Roxy Music, and, as a result of that, I have a career in music. If I'd walked ten yards further on the platform, or missed that train, or been in the next carriage, I probably would have been an art teacher now'. During his period with Roxy Music, and for his first three solo albums, he was credited on records only as 'Eno'. Eno appearing on Dutch television (1974) Eno embarked on a solo career almost immediately. Between 1973 and 1977, he created four albums of electronically inflected: (1973), (1974), (1975), and (1977).
Tiger Mountain contains the galloping 'Third Uncle', one of Eno's best-known songs, owing in part to its later being covered. Critic writes that the song is 'a near punk attack of riffing guitars and clattering percussion, 'Third Uncle' could, in other hands, be a heavy metal anthem, albeit one whose lyrical content would tongue-tie the most slavish air guitarist.' These four albums were remastered and reissued in 2004 by 's label.
Due to Eno's decision not to add any extra tracks of the original material, a handful of tracks originally issued as singles have not been reissued, including the single mix of 'King's Lead Hat', the title of which is an of ', whilst 'Seven Deadly Finns' and 'The Lion Sleeps Tonight' were included on the Eno Box II: Vocal. During this period, Eno also played three dates with in the band, a ' that performed more or less reworked selections from albums by Eno, Manzanera, and, as well as covers of songs by (') and ('). In 1967 Eno developed a system. The technique involved two tape recorders set up side by side, with the tape unspooling from the first deck being carried over to the second deck to be spooled.
This enabled sound recorded on the first deck to be played back by the second deck at a time delay that varied with the distance between the two decks and the speed of the tape (typically a few seconds). Working with (from ) the pair used this system in their collaboration (1973). Subsequently, Fripp referred to this method as '. In 1975, Fripp and Eno released a second album, and played several live shows in Europe.
Eno was a prominent member of the performance art-classical orchestra the – having started playing clarinet with them in 1972. In 1973 he produced the orchestra's first album The Portsmouth Sinfonia Plays the Popular Classics (released in March 1974) and in 1974 he produced the live album Hallelujah! The Portsmouth Sinfonia Live at the Royal Albert Hall, a recording of their infamous May 1974 concert (released in October 1974). In addition to producing both albums, Eno performed in the orchestra on both recordings playing the clarinet. Eno also deployed the orchestra's famously dissonant string section on his second solo album Taking Tiger Mountain (By Strategy).
The orchestra at this time included other musicians whose solo work he would subsequently release on his Obscure label including. That year he also composed music for the album, with, to accompany the poet. Ambient music. Main article: Eno's continuing solo career saw the release of a number of highly eclectic and increasingly and acoustic albums. He coined the term 'ambient music', which is designed to modify the listener's perception of the surrounding environment. In the liner notes accompanying Eno explains: '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.' In January 1975, Eno was hit by a taxi while crossing the street and spent several weeks recuperating at home.
His girlfriend brought him an old record of harp music, which he lay down to listen to. He realised he had set the amplifier to a very low volume and one channel of the stereo was not working, but lacked the energy to correct it. 'This presented what was for me a new way of hearing music – as part of the ambience of the environment just as the colour of the light and sound of the rain were parts of the ambience.' Eno's first work of ambient music, 1975's (again created via an elaborate tape-delay methodology, that Eno diagrammed on the back cover of the LP), is considered the landmark album of the genre. This was followed by his Ambient series: ( (Ambient 1); (Ambient 2) featuring Harold Budd on Keyboards; (Ambient 3) with the American composer playing and; and (Ambient 4)). In 1975 Eno appeared as the Wolf in a rock version of 's classic. Produced by and, the album featured, Phil Collins,.
Also in 1975, Eno provided synthesisers and treatments on 's album Mainstream alongside Phil Manzanera, Dave Jarrett, and, and he performed on and contributed songs and vocals to Manzanera's album. In September 1976 Eno recorded with the group at their studio in, Germany. This material was not released until 1997 as by Harmonia '76. It was again reissued in 2009 with additional tracks and credited to Harmonia & Eno '76. Further collaborations with 'Krautrock' musicians including Hans Roedelius and Dieter Moebius saw the release of (1977) and (1978). From 1977 to 1979 Eno collaborated with David Bowie on Bowie's 'Berlin Trilogy' (, and ), and from 1978 to 1980 with Talking Heads (, and ). 1980s In 1980 Eno provided a film score for 's, also known as Egon Schiele – Excess and Punishment.
The ambient-style score was an unusual choice for an historical piece, but it worked effectively with the film's themes of sexual obsession and death. Before Eno made On Land played him ' ' (1974). Eno stated in the liner notes for On Land, 'Teo Macero's revolutionary production on that piece seemed to me to have the 'spacious' quality I was after, and like Federico Fellini's 1973 film Amarcord, it too became a touchstone to which I returned frequently.'
In 1980–1981, during which time Eno travelled to for a festival of West African music, he was collaborating with of. Their album, was built around radio broadcasts Eno collected whilst living in the, along with sampled music recordings from around the world transposed over music predominantly inspired by African and rhythms. In turn My Life in the Bush of Ghosts inspired DJ/Producer Hank Shocklee (co-founder of Public Enemy) in his creation of. The album brought 'World Music' into Western pop ahead of 's (1986) and before the term 'World Music' was coined in 1987, but long after George Harrison introduced Indian music to the West. Tw In 1983 Eno collaborated with his brother, and on the album that had been commissioned by Al Reinert for his film (1989).
Tracks from the album were subsequently used in several other films, including. 1990s In September 1992 Eno released, an album utilising heavily syncopated rhythms with contributions from several former collaborators including Fripp,.
This album was a last-minute substitution for My Squelchy Life, which contained more pop oriented material, with Eno on vocals. Several tracks from My Squelchy Life later appeared on 1993's retrospective box set Eno Box II: Vocals, and the entire album was eventually released in 2014 as part of an expanded re-release of Nerve Net.
Eno also released in 1992, recorded between 1985 and 1990. This album embraces and abandons most conventional concepts of,. Released from the relentless drive to the tonic that underpins Western tonal music, the music shifts gradually and conventional instrumentation is eschewed, save for treated keyboards. During the 1990s Eno worked increasingly with self-generating musical systems, the results of which he called. This allows the listener to hear music that slowly unfolds in almost infinite non-repeating combinations of sound. In one instance of generative music, Eno calculated that it would take almost 10,000 years to hear the entire possibilities of one individual piece.
Eno achieves this through the blending of several independent musical tracks of varying length. Each track features different musical elements and in some cases, silence. When each individual track concludes, it starts again re-configuring differently with the other tracks. He has presented this music in his own art and sound installations and those in collaboration with other artists, including (The Sleepers), and Music for Prague. One of Eno's better-known collaborations was with the members of, and several other artists in a group called Passengers. They produced the 1995 album, which reached No.
76 on the US and No. It featured a single, ', which reached number 6 in the. This collaboration is chronicled in Eno's book, a diary published in 1996. In 1996 Eno scored the six-part fantasy television series. 2000s In 2004, Fripp and Eno recorded another ambient music collaboration album,.
Eno returned in June 2005 with, his first major album since (with ) to prominently feature vocals (a trend he continued with ). The album differs from his 1970s solo work due to the impact technological advances on musical production, evident in its semi-electronic production. In early 2006 Eno collaborated with David Byrne again, for the reissue of My Life in the Bush of Ghosts in celebration of the influential album's 25th anniversary. Eight previously unreleased tracks recorded during the initial sessions in 1980/81, were added to the album. An unusual interactive marketing strategy was employed for its re-release; the album's promotional website features the ability for anyone to officially and legally download the of two songs from the album, 'A Secret Life' and 'Help Me Somebody'. This allowed listeners to and upload new mixes of these tracks to the website for others to listen and rate them. Eno at the, 26 June 2006 In late 2006 Eno released, a program of generative video and music specifically for home computers.
As its title suggests, there is a possible combination of 77 million paintings where the viewer will see different combinations of video slides prepared by Eno each time the program is launched. Likewise, the accompanying music is generated by the program so that it's almost certain the listener will never hear the same arrangement twice. The second edition of '77 Million Paintings' featuring improved morphing and a further two layers of sound was released on 14 January 2008. In June 2007, when commissioned in the, San Francisco, California, (AngryBeth Shortbread) recreated 77 Million Paintings in.
In 2007 Eno's music was featured in a of 's best-selling collection. He also appeared playing keyboards in, 's solo album sung entirely in French. Also in 2007, Eno contributed a composition titled 'Grafton Street' to third album, released in November 2008. In 2008, he released with David Byrne, designed the sound for the video game and wrote a chapter to Sound Unbound: Sampling Digital Music and Culture, edited by Paul D.
Miller (a.k.a. In June 2009 Eno curated the Luminous Festival at, culminating in his first live appearance in many years. 'Pure Scenius' consisted of three live improvised performances on the same day, featuring Eno, Australian improvisation trio, from, electronic artist and guitarist.
Eno scored the music for 's film adaptation of, released in December 2009. Eno at MoogFest 2011 Eno released another solo album on in late 2010., made in association with long-time collaborators Leo Abrahams and Jon Hopkins, was released on 2 November in the United States and 15 November in the UK. The album included five compositions that were adaptions of those tracks that Eno wrote for The Lovely Bones. Eno also sang backing vocals on 's debut album, on the songs 'Desire' and 'Suzanne & I'.
He later released, a collaboration with poet, on 4 July 2011. In November 2012, Eno released, a 76-minute composition in four sections, through Warp. Eno worked with French–Algerian singer on Taha's (2004) and (2013) albums, contributing percussion, bass, brass and vocals. Eno also performed with Taha at the concert in London in 2005. In April 2014, Eno sang on, co-wrote, and co-produced, from his solo debut album.
In May 2014, Eno and Underworld's Karl Hyde released, featuring various guest musicians: from Coldplay's and Roxy Music's to newer names such as 22-year-old Fred Gibson, who helped produce the record with Eno. Within weeks of that release, a second full-length album was announced titled. This was released on 30 June 2014. In January 2016, a new Eno ambient soundscape was premiered as part of 's planetary photography exhibition 'Otherworlds' in the Jerwood Gallery of London's Natural History Museum. In a statement Eno commented on the unnamed half-hour piece: 'We can't experience space directly; those few who've been out there have done so inside precarious cocoons.
They float in silence, for space has no air, nothing to vibrate – and therefore no sound. Nonetheless we can't resist imagining space as a sonic experience, translating our feelings about it into music.
In the past we saw the universe as a perfect, divine creation – logical, finite, deterministic – and our art reflected that. The discoveries of the Space age have revealed instead a chaotic, unstable and vibrant reality, constantly changing. This music tries to reflect that new understanding.' , an album with music from Eno's installation of the same name was released on 29 April 2016 on. In September 2016, the Portuguese synthpop band, released a single entitled Love Without Violins. As well as singing on the track, Eno co-wrote and produced it. The single was released on the band's own record label La Folie Records on 30 September.
Eno's, an album of ambient, generative music, was released on Warp Records on 1 January. It was nominated for a Grammy Award for 2018's 60th.
Grammy awards ceremony. Record producer. Problems playing this file? From the beginning of his solo career in 1973, Eno was in demand as a record producer. The first album with Eno credited as producer was.
Eno's lengthy string of producer credits includes albums for,. He also produced part of the 1993 album. He won the best producer award at the 1994 and 1996. Eno describes himself as a 'non-musician', using the term 'treatments' to describe his modification of the sound of musical instruments, and to separate his role from that of the traditional instrumentalist. His skill at using 'The Studio as a Compositional Tool' (the title of an essay by Eno) led in part to his career as a producer. His methods were recognised at the time (mid-1970s) as unique, so much so that on, he is credited with 'Enossification'; on 's with a Direct inject anti-jazz raygun and on 's albums as simply being 'Eno'. Eno has contributed to recordings by artists as varied as, Robert Calvert, and, in various capacities such as use of his studio/synthesiser/electronic treatments, vocals, guitar, bass guitar, and as just being 'Eno'.
In 1984, he (amongst others) composed and performed the 'Prophecy Theme' for the film; the rest of the was composed and performed by the group. Eno produced performance artist 's album, and also composed for it. The work is avant-garde spoken word with haunting and magnifying sounds. Eno played on David Byrne's musical score for The Catherine Wheel, a project commissioned by to accompany her Broadway dance project of the same name. He worked with Bowie as a writer and musician on Bowie's influential 1977–79 'Berlin Trilogy' of albums, and, on Bowie's later album, and on the song '. Recorded in France and Germany, the spacey effects on Low were largely created by Eno, who played a portable synthesizer.
Producer used an to alter the sound of the drums, claiming that the audio processor 'f–s with the fabric of time.' Eno co-produced (1984), (1987), (1991), and (2000) for U2 with his frequent collaborator, and produced 1993's with. In 1995, U2 and Eno joined forces to create the album under the group name Passengers; songs from which included ' and '. Even though films are listed and described for each song, all but three are bogus. Eno also produced (1993), (1994) (1999) and (2001) for, performing as an extra musician on all four. He is credited for 'frequent interference and occasional co-production' on their 1997 album.
Eno played on the 1986 album by Australian band. He remixed two tracks for, ' and ', both single releases from the album in 1993. In 1995, Eno provided one of several remixes of ' by (originally from their album) for release as a single.
In 2007, he produced the fourth studio album by, released in 2008. Also in 2008, he worked with on her album, credited for 'production consultation' and as a member of the band, playing keyboards, treatments and background vocals. He worked on the twelfth studio album by, again with Lanois, titled. It was recorded in Morocco, the South of France and and released in Europe on 27 February 2009. In 2011, Eno and Coldplay reunited and Eno contributed 'enoxification' and additional composition on Coldplay's fifth studio album, released on 24 October of that year. Eno's connections to other progressive rock music artists The Microsoft Sound In 1994, designers and Erik Gavriluk approached Eno to compose music for the project.
The result was the six-second music-sound of the Windows 95, 'The Microsoft Sound'. In an interview with in the he said: The idea came up at the time when I was completely bereft of ideas. I'd been working on my own music for a while and was quite lost, actually. And I really appreciated someone coming along and saying, 'Here's a specific problem – solve it.' The thing from the agency said, 'We want a piece of music that is inspiring, universal, blah-blah, da-da-da, optimistic, futuristic, sentimental, emotional,' this whole list of adjectives, and then at the bottom it said 'and it must be 3 1⁄ 4 seconds long.'
I thought this was so funny and an amazing thought to actually try to make a little piece of music. It's like making a tiny little jewel. In fact, I made eighty-four pieces. I got completely into this world of tiny, tiny little pieces of music. I was so sensitive to microseconds at the end of this that it really broke a logjam in my own work. Then when I'd finished that and I went back to working with pieces that were like three minutes long, it seemed like oceans of time. Eno shed further light on the composition of the sound on the show, admitting that he created it using a computer, stating 'I wrote it on a Mac.
I've never used a in my life; I don't like them.' Video work Eno has spoken of an early and ongoing interest in exploring light in a similar way to his work with sound. He started experimenting with the medium of video in 1978.
Eno describes the first video camera he received, that would initially become his main tool for creating ambient video and light installations: 'One afternoon while I was working in the studio with, the roadie from, working in an adjacent studio, came in and asked whether anyone wanted to buy some video equipment. I'd never really thought much about video, and found most 'video art' completely unmemorable, but the prospect of actually owning a video camera was, at that time, quite exotic.' The industrial camera Eno received had significant preventing the camera from sitting upright without the assistance of a tripod. This led to his works being filmed in vertical format, requiring the television set to be flipped on its side to view it in the proper orientation.
The pieces Eno produced with this method, such as Mistaken Memories of Mediaeval Manhattan (1980) and (1984) (accompanied by the album of the same title), were labelled as 'Video Paintings.' He explained the genre title in the music magazine NME: 'I was delighted to find this other way of using video because at last here's video which draws from another source, which is painting. I call them 'video paintings' because if you say to people 'I make videos', they think of Sting's new rock video or some really boring, grimy 'Video Art'. It's just a way of saying, 'I make videos that don't move very fast.' These works presented Eno with the opportunity to expand his ambient aesthetic into a visual form, manipulating the medium of video to produce something not present in the normal television experience.
His video works were shown around the world in exhibitions in New York and Tokyo, as well as released on the compilation 14 Video Paintings in 2005. Eno continued his video experimentation through the 80s, 90s and 2000s, leading to further experimentation with the television as a malleable light source and informing his generative works such as in 2006. Generative music Although the term 'generative music' did not exist before Brian Eno coined it in 1995, the music to which it refers has existed in various forms for centuries.
Eno gives the example of. He says that these systems and the creation of them have been a focus of his since he was a student: 'I got interested in the idea of music that could make itself, in a sense, in the mid 1960s really, when I first heard composers like Terry Riley, and when I first started playing with tape recorders.' Initially Eno began to experiment with tape loops to create systems. With the advent of CDs he developed systems to make music of indeterminate duration using several discs of material that he'd specifically recorded so that they would work together musically when driven by random playback. In 1995 he began working with the company Intermorphic to create generative music through utilising programmed algorithms. The collaboration with Intermorphic led Eno to release Generative Music 1 - which requires Intermorphic's Koan Player software for PC. The Koan software made it possible for generative music to be experienced in the domestic environment for the first time.
Generative Music 1 In 1996 Eno collaborated in developing the SSEYO generative music system (by Pete Cole and Tim Cole of Intermorphic) that he used in composing Generative Music 1 – only playable on the Koan generative music system. Further music releases using Koan software include: Wander (2001) and Dark Symphony (2007) – both include works by Brian, and those of other artists (including SSEYO's Tim Cole). Released excerpts Eno started to release excerpts of results from his 'generative music' systems as early as 1975 with the album Discreet Music. Then again in 1978 with Music for Airports: Music for Airports, at least one of the pieces on there, is structurally very, very simple. There are sung notes, sung by three women and my self. One of the notes repeats every 23 1/2 seconds. It is in fact a long recorded tape loop running around a series of tubular aluminum chairs in Conny Plank's studio.
The next lowest loop repeats every 25 7/8 seconds or something like that. The third one every 29 15/16 seconds or something. What I mean is they all repeat in cycles that are called incommensurable – they are not likely to come back into sync again.
So this is the piece moving along in time. Your experience of the piece of course is a moment in time, there. So as the piece progresses, what you hear are the various clusterings and configurations of these six basic elements.
The basic elements in that particular piece never change. They stay the same.
But the piece does appear to have quite a lot of variety. In fact it's about eight minutes long on that record, but I did have a thirty minute version which I would bore friends who would listen to it.
The thing about pieces like this of course is that they are actually of almost infinite length if the numbers involved are complex enough. They simply don't ever re-configure in the same way again. This is music for free in a sense. The considerations that are important, then, become questions of how the system works and most important of all what you feed into the system. — Philip Sherburne / Brian Eno, A Conversation With Brian Eno About Ambient Music Artworks: Light Boxes Eno's 'light boxes' utilise advances in LED technology that has enabled him to re-imagine his ziggurat light paintings - and early light boxes as featured in (1999) - for the domestic environment. The light boxes feature slowly changing combinations of colour fields that draw attention differently to the shapes outlined by delineating structures within. As the paintings slowly evolve each passing moment is defined differently, drawing the viewer's focus into the present moment.
The writer and cultural essayist Michael Bracewell writes that the viewer 'is also encouraged to engage with a generative sensor/aesthetic experience that reflects the ever-changing moods and randomness of life itself'. He likens Eno's art to 'Matisse or Rothko at their most enfolding.' First shown commercially at the Paul Stolper Gallery in London (forming the Light Music exhibition in 2016 that included lenticular paintings by Eno), 'light boxes' have been shown across the world.
They remain in permanent display in both private and public spaces. Recognised for their therapeutic contemplative benefits, Eno's 'light paintings' have been commissioned for specially dedicated places of reflection including in Chelsea and Westminster hospital, the Montefiore Hospital in Hove and a three and a half metre lightbox for the sanctuary room in the Macmillan Horizon Centre in Brighton. Obscure Records Eno started the Obscure Records label in Britain in 1975 to release works by lesser-known composers. The first group of three releases included his own composition, and the now-famous The Sinking of the Titanic (1969) and (1971). The second side of Discreet Music consisted of several versions of, the composition which Eno had previously chosen to precede Roxy Music's appearances on stage and to which he applied various algorithmic transformations, rendering it almost unrecognisable. Side one consisted of a system for generating music from relatively sparse input.
These tapes had previously been used as backgrounds in some of his collaborations with Fripp, most notably on Evening Star. Ten albums were released on Obscure, including works by, and John Cage. Other work. See also: Eno is frequently referred to as one of popular music's most influential artists.
Critic Jason Ankeny at argues that Eno 'forever altered the ways in which music is approached, composed, performed, and perceived, and everything from punk to techno to new age bears his unmistakable influence.' Eno has spread his techniques and theories primarily through his production; his distinctive style informed a number of projects in which he has been involved, including Bowie's 'Berlin Trilogy' (helping to popularise ) and the albums he produced for Talking Heads (incorporating, on Eno's advice, African music and polyrhythms), Devo, and other groups. Eno's first collaboration with David Byrne, 1981's My Life in the Bush of Ghosts, pioneered techniques that would prove to be influential in hip-hop, and broke ground by incorporating into popular Western music forms. Eno and 's have been used by many bands, and Eno's production style has proven influential in several general respects: 'his recording techniques have helped change the way that modern musicians;– particularly electronic musicians;– view the studio. No longer is it just a passive medium through which they communicate their ideas but itself a new instrument with seemingly endless possibilities.' Whilst inspired by the ideas of minimalist composers including John Cage, Terry Riley and Erik Satie, Eno coined the term ambient music to describe his own work and defined the term. The Ambient Music Guide states that he has brought from 'relative obscurity into the popular consciousness' fundamental ideas about ambient music, including 'the idea of modern music as subtle atmosphere, as chill-out, as impressionistic, as something that creates space for quiet reflection or relaxation.'
His groundbreaking work in has been said to have brought widespread attention to and innovations in the role of electronic technology in recording. Keyboardist said he 'often eulogised' Eno's abilities.
Eno's 'unconventional studio predilections', in common with those of, were an influence on the recording of ', the single which launched the solo career of Eno's former drummer. Collins said he 'learned a lot' from working with Eno.
Both (in the song 'Eno Collaboration' on the EP of the ) and have written songs about Eno. Has frequently cited Eno as a key influence. The Icelandic singer also credited Eno as a major influence. Mora sti Fotia (Babies on Fire), one of the most influential Greek rock bands, was named after Eno's song 'Baby's on Fire'. In 2011, academics from the named a species of Pseudocorinna brianeno in his honour. In September 2016, asked by the website Just Six Degrees to name a currently influential artist, Eno cited the conceptual, video and installation artist as a source of current inspiration: 'Deller's work is often technically very ambitious, involving organising large groups of volunteers and helpers, but he himself is almost invisible in the end result. I'm inspired by this quietly subversive way of being an artist, setting up situations and then letting them play out.
To me it's a form of social generative art where the 'generators' are people and their experiences, and where the role of the artist is to create a context within which they collide and create.' Personal life In 1967, at the age of 18, Eno married Sarah Grenville. They had a daughter, Hannah (born July 1967), before divorcing. Eno married his manager Anthea Norman-Taylor in 1988; they have two daughters, Irial and Darla. Eno has referred to himself as 'kind of an ' but has also professed an interest in religion. In 1996, Eno and others started the to educate the public about the very long-term future of society and to encourage long-term thinking in the exploration of enduring solutions to global issues.
The mobile phone features exclusive music composed by Eno. Between 8 January 2007 and 12 February 2007, ten units of Nokia 8800 Sirocco Brian Eno Signature Edition mobile phones, individually numbered and engraved with Eno's signature, were auctioned off. All proceeds went to two charities chosen by Eno: the Keiskamma AIDS treatment program and the. In 2006, Eno was one of more than 100 artists and writers who signed an open letter calling for an international political and cultural institutions. And in January 2009 he spoke out against by writing an opinion for and participating in a large-scale protest in London. In 2014, Eno again protested publicly against what he called a 'one-sided exercise in ethnic cleansing' and a 'war with no moral justification,' in reference to the.
He was also a co-signatory, along with, and others, to a letter published in that labelled the conflict as an 'inhumane and illegal act of military aggression' and called for 'a comprehensive and legally binding military embargo on Israel, similar to that imposed on South Africa during.' In 2013, Eno became a patron of Videre Est Credere (Latin for 'to see is to believe'), a UK human rights charity. Videre describes itself as 'giveing local activists the equipment, training and support needed to safely capture compelling video evidence of human rights violations. This captured footage is verified, analysed and then distributed to those who can create change.' He participates alongside movie producers and – along with executive director of Greenpeace UK. Eno is a member of the.
In August 2015, he endorsed 's in the. He said at a rally in: 'I don't think electability really is the most important thing. What's important is that someone changes the conversation and moves us off this small-minded agenda.' He later wrote in: 'He's Corbyn been doing this with courage and integrity and with very little publicity. This already distinguishes him from at least half the people in Westminster, whose strongest motivation seems to have been to get elected, whatever it takes.'
On 3 December 2015, Eno appeared in a filmed public forum in London, England, titled 'Basic income: How do we get there?' , about the benefits and need for a. It was hosted by Basic Income UK and also included economist Frances Coppola and anthropologist David Graeber. In Autumn 2016, he became elected member of the 12 person of the Democracy in Europe Movement 2025 , together with among other world-famous activists. Eno was appointed President of in 2017. He has had a long involvement with the organisation since it was set up in 2001. He is also a trustee of the environmental law firm Client Earth, and the Institute for Innovation and Public Purpose, set up.
Discography.
Sound Forge Pro 10 software efficiently and reliably provides audio editors and producers complete control over all aspects of audio editing and mastering. Whether in the studio or field, it's the ultimate all-in-one production suite for professional audio recording and mastering, sound design, audio restoration, and Red Book CD creation. New features in Sound Forge Pro 10 include precise event-based editing, integrated disc-at-once CD burning, musical instrument file editing and processing, and pristine audio conversion and time stretching. Floating window docks Sound Forge Pro 10 software includes enhancements for customizing the layout and positioning of the traditional Sound Forge workspace.
Dock and group windows within the Sound Forge interface, customizing the environment to fit the way you work. Customizable window layouts Design Sound Forge Pro 10 editing environments to maximize your productivity. Create and save multiple interface layout configurations for single- and dual-monitor systems. Easily recall a window layout for specific editing tasks including audio editing, CD layout, multichannel file editing, and more Gracenote CD album identification Sound Forge Pro 10 software supports the Gracenote MusicID Media Recognition Service. When extracting audio from a CD, you can view information including track title, artist, and also submit song information. Regions List and Playlist windows The Regions List and Playlist windows in Sound Forge Pro 10 software have features for fast in-place editing and sorting. Quickly edit regions by typing new values in the Name, Start, End, or Length fields.
Interface color customization The Sound Forge Pro 10 user interface is fully customizable. Most Interface elements including waveform and envelope colors, markers, and default window heights can be customized to fit your workflow. Tabbed browsing With Sound Forge Pro 10 software, you can group maximized data windows together and easily browse them via tabs, increasing speed and efficiency when editing multiple audio files. Custom selection grid lines Creating loops from existing material is now easier than ever. Use grid lines to visually divide audio selections into equal parts based on time signature for more efficient and accurate editing. Interactive tutorials Spend less time learning and more time editing and mastering using the new integrated tutorials in Sound Forge Pro 10 software. These tutorials provide walkthrough demonstrations of common features and functionality, including DAO CD burning, vinyl recording and restoration for easy analog to digital conversion, and more.
Media explorer with automatic previewing Quickly and easily find, preview, and open media files using the Media Explorer window. Drag files and regions from the Explorer into the workspace or onto another open file for easy pasting, mixing, or crossfading.
Explore audio files on a CD-ROM and extract automatically by dragging from the Explorer into the Sound Forge workspace. ACID loop creation tools Create your own music loops for use in ACID software.
Display and edit ACID.wav file properties including tempo and root note, finely edit audio clips and shift selections to get the sound you want. When you create a loop, the information you set is embedded in the file, so your loops will change tempo and pitch-shift along with your ACID project.
Changelog for this release: Fixed a bug that could cause the spectrum graph to be displayed incorrectly in the Spectrum Analysis window. Requirements: # 1 GHz processor # 350 MB hard-disk space for program installation # 512 MB RAM # Windows-compatible sound card # DVD-ROM drive (for installation) # Supported CD-recordable drive (for CD burning) # Microsoft DirectX 9.0 Restriction: 30 days trial.