Picture from Venice

Notes from an Eno installation in Venice, 1985

What I have tried to do here is to create a visual and acoustic environment that has the texture of a natural location - of continuous but subtle change, resulting from the different combinations of a fixed set of elements. I like this work to be unframed-to bleed across into its surroundings rather than being separated off from then the piece is also unframed in time - it is a set of elements that come together and interact for a while. And is thus conceived in the same spirit as many of my records. It is to do with the creation of some kind of sensual and emotional texture which. Once constructed. Has a certain reliable persistence: it can be entered into. Left and re- entered again, for there is no central narrative demanding continuous attention the italian word ambientation means (as i understand it) the physical atmosphere within which something is placed. The implication is that the something is the focal point and the primary artistic issue, and that the ambientation is separate and of secondary importance - a backdrop. What I am doing. On the other hand. Seems different from this: the work is a study in active ambientation a continuous and organic atmosphere. This show uses two familiar technologies in unfamiliar ways. The tv monitors concealed inside these pieces are being used as a means of projecting light onto other surfaces: a recognition of the overlooked fact that video is the most flexible and precise system for controlling light. The music, having been constructed in a 24-track studio was mixed down twice. Such that some of the musical elements were common to both mixes, whilst others were unique to one mix. These two mixes are played back on two unsynced cassette players. Thus the synchronization between the groups of musical elements is allowed to change constantly - a technique of using systems designed for precise repetition to generate continuously novel permutations.

Brian Eno

[Eno icon] Back to silence, back to nothing