Milan

Brian Eno

Chiesa di S. Carpoforo

From John Cage’s silence to Brian Eno’s music; from a density of signals to a scarcity and simplicity of them. Cages silence is born out of noise; Eno’s music arises from the silence that the noise provokes around us. Cages realism brings us out of our towers, or our islands, into life. Eno’s abstraction leads us from the chaos of life to the silence of the tower, of the island. But in reality the tower is threatened; in reality, the island will be invaded. Eno clearly pushes us from the artificial territory of possible worlds into the fantastic domain of the imaginary.

Perhaps this is why his “Crystals,” 1984, seem to be segments or visions from the primordial and lovely, but now vanished, planet of Krypton, mythic zone of unfortunate birth. In fact, and not accidentally, Eno’s most recent video/musical work has great prescience, containing a tacit promise of the sublime; for the moment,

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