Whatever you now find weird, ugly, uncomfortable and nasty about a new medium will surely become its signature... 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.

One of the things you're doing when you make art, apart from entertaining yourself and other people, is trying to see what ways of working feel good, what feels right.

We are increasingly likely to find ourselves in places with background music. No composers have thought to write for these modern spaces, which represent 30% of our musical experience.

Human development thus far has been fueled and guided by the feeling that things could be, and are probably going to be, better.

Cultural objects have no notable identity outside of that which we confer upon them. Their value is entirely a product of the interaction that we have with them.

We have two different ways of working. One is completely unstructured where somebody just starts playing and somebody joins in and then the other person joins in, and something starts to happen. That's occasionally what happens. What more often happens is that we settle on some sort of - a few sort of structural ideas, like, "Okay, when I put my finger up, we're all going to move to the extremes of our instruments. So, that means you can only play either very high or very low or both. And we're going to stay there until I take my finger down.

There's a kind of edge to what you're doing, the kind of leading edge of what you're doing. Inside that edge [are elements you] are familiar with, and are probably becoming slightly bored with, as well, over a period of time. "I've pulled that one out before. Oh, no, I can't I'm just fed up with that. Let's do something else."And you always think "Oh my God I've never done anything at all like that before." But, of course, in retrospect, and to an outsider, they'll say, "Oh, yeah that's typical Eno.